Respond to these rapid questions in our Morgan quiz and we will tell you which Morgan character you are. Play it now.
Under the guise of providing entertainment, movies frequently teach meaningful lessons about life. For instance, because of Oliver Stone’s film “The Hand” from 1981, I will never, ever stick my own hand out of a window while I’m driving in a car because I’m afraid it will be severed and run away to commit terrible acts of evil.
But if there is one rule that tends to be followed in cinema, especially in horror and science fiction films like “Frankenstein” (1931) and “Ex Machina” (2016), it is this: Resist the urge to play God and build an artificial being that is similar to a human being. The outcomes of situations involving such hubris are almost never positive. If you absolutely must, continue to rely on your imaginary friends, despite the fact that these relationships can also end badly (for example, “Drop Dead Fred”).
Along comes “Morgan” to add his voice to the chorus of misguided scientists who, over the course of the years, have proclaimed a variety of different versions of “It’s alive!” This cautionary thriller about the dangers of bioengineering doubles as a kind of passing of the torch (not carried by angry villagers) between directors who share DNA. The film’s plot revolves around a scientist who accidentally creates a superhuman being. That would be Luke Scott, who is starring in his first feature film, and Ridley Scott, his father, who is producing the film. This son, who worked as a second unit director on his father’s productions of “The Martian” and “Exodus: Gods and Kings,” has obviously been paying attention to his father’s work over the years, as “Morgan” is full of references to the director’s previous works.
However, this makes perfect sense when one considers the fact that Sir Ridley Scott’s “Alien” is still considered to be one of the most influential examples of scary science fiction on the big screen, and that the film even features a manipulative fake human in the form of Ian Holm’s android Ash. In addition, the ending of “Morgan” features a very physical face-off between two powerful females, similar to the one that took place between Sigourney Weaver’s Ripley and the alien queen. Additionally, “Morgan” boasts a commendably diverse cast, similar to other Scott productions such as “The Martian” and “The Good Wife” on television.
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However, when it comes to a genre that is propelled in large part by plot twists that are intended to catch the audience by surprise, such formulaic familiarity can occasionally prove to be a detriment. For example, the moment we see the determined visage and no-nonsense coif of Kate Mara’s character, risk-management consultant Lee Weathers, as she drives down a gravel road to a remote woodsy compound, it is immediately apparent that she is not someone who should be trifled with or taken lightly.
Perhaps in an obvious way.
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We find out that “Corporate” has dispatched her to investigate the events leading up to a horribly violent attack that was carried out by Morgan, an artificial being taking the form of a fair-skinned waif of a teen girl, on one of her caretakers, behavioral psychiatrist Kathy (Jennifer Jason Leigh, with one eye obscured by a bloody bandage). Lee meets and evaluates the other members of this seven-member family-like collective that is responsible for Morgan’s “birth” five years ago and monitoring her rapid growth. This process is very reminiscent of the work of a private investigator. Morgan, who continues to develop both physically and mentally, is dealt with by the close-knit crew as if they were proud parents reveling in their child’s magical accomplishments rather than objective observers of an unknown and potentially dangerous quantity. Morgan continues to evolve both physically and mentally.
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Because Kathy told Morgan that she was essentially imprisoned in her glass-walled bunker of a room, Kathy bears some of the responsibility for upsetting this experimental being who has a strong affinity for the natural world. This argument is refuted by Lee in an unequivocal manner, saying, “She is a ‘it.'” And “it” possesses no legal rights.”
Even before Lee speaks to the rest of Morgan’s emotionally invested handlers, such as the chief scientist in charge (Toby Jones), a doctor who Morgan refers to as “mother” (Michelle Yeoh), the soft-hearted psychoanalyst (Rose Leslie) who introduced Morgan to the great outdoors, the project’s hunky cook (Boyd Holbrook), and three other members of the staff, she appears ready to pull the plug on Morgan. Even though they are separated by glass, she is unconvinced by face-to-face encounters with her.
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When an outside shrink arrives and demands to enter Morgan’s space without protection in order to better determine whether she is malfunctioning, it is almost certain that the session is not going to end on a positive note once Morgan begins to taunt him about his troubled personal life. His very presence is like tossing a lit stick of dynamite into a building that is already engulfed in flames. This is because he is portrayed by Paul Giamatti, who specializes in roles that require blowing one’s stack.
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Before the halfway point, it is pretty obvious what the eventual outcome and supposed big reveal will be, which causes “Morgan” to fail as a chilling plunge into blood-splattered mayhem, in my diagnosis. This is the main reason why “Morgan” fails as a plunge into blood-splattered mayhem. This is not necessarily the fault of the actors; there are a number of highly regarded talents involved in this production. It’s just that we’ve witnessed the majority of this play out before in some form or another.
Morgan herself, or more accurately, the thing itself, is what is successful. If you can look past the obvious ghoulish lipstick on her lips and the overdone pasty sheen on her face, Anya Taylor-Joy, the star of this year’s truly creepy “The Witch,” imbues her character with an intriguing newborn-like aura, a calm if unsettling speech pattern, and a tendency to erupt into a terrifying rage within seconds. This is despite the fact that she wears obvious ghoulish lipstick on her lips. Then there are her otherworldly reptilian eyes, which are capable of peeping into the bare minds of anyone who has the audacity to confront her. If you end up enjoying “Morgan,” it will most likely be because of Taylor-Joy. That’s the short and simple version.
I do feel the need to air out one minor grievance at this time. It was strange that the younger Scott had chosen to concentrate his camera’s attention on Lee’s New York license plate for such a prolonged period of time while she was arriving. It appeared as though he was exerting a great deal of effort to persuade us that we were somewhere in the wilds of upstate New York. Indeed, the filming location for “Morgan” was in Northern Ireland. When I see blarney, I am able to identify it.
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