Friday, 21 September, 2018

What Went Wrong With The 'Morgan' Robot In Video Interview

Stacy Diaz | 01 September, 2016, 11:44

We have already treated you to some great clips from upcoming film Morgan and now we have another for you to take a look at. Venture a guess how it turns out for them? Basically, at a very young age, she is a superhuman. That project is Morgan (Taylor-Joy), a 5-year-old artificially created humanoid who has never been outside the grounds of the lab and whose tweaked genetics have given her accelerated growth, psychic powers, and the ability to snap a fully grown deer's neck with her bare hands.

On a secure site in a secluded wood, risk management consultant Kate Mara is on a mission: after a violent episode involving the company's eponymous "biological organism" (Taylor-Joy) and her minder (Jennifer Jason Leigh), Mara is to ascertain whether or not Morgan, now housed in a secure bunker, and the programme should continue. That bleak and basic position, along with some nastily choreographed stints of violence in the second half, make MORGAN a slightly more than mediocre sci-fi parable. Along to help sway Lee one way or the other are a host of fellow doctors: Ted Brenner (Michael Yare), a dopey company man; Dr. Menser (Rose Leslie), a sweet-hearted friend of Morgan's; Dr. Ziegler (Toby Jones), an avuncular psychologist; Drs.

Morgan certainly exceeded their expectations: why, she could walk and talk after a month. What's frustrating is that Morgan open a big book interesting themes but bizarrely leaves the pages unturned.

If vision is indeed a genetic trait, there's no wonder that iconic filmmaker Ridley Scott has blessed his son Luke with a trained and talented eye behind the camera. Of special note is Michelle Yeoh's mysterious maternal figure. She's also an expensive, top-secret experiment, and she appears to be malfunctioning.

Morgan looks the business and there are solid performances afoot (Anna Taylor-Joy shows that The Witch was no fluke) but it's determination to ignore what would have made it worthwhile and embrace what will make it wholly forgettable is baffling.

Morgan is most intriguing when it's pondering its central dilemma, succinctly encapsulated by Lee's insistence that Morgan is not a "she", but an "it". Despite all the emotional distress and sympathy that comes with being forced to tap dance for her supper (or life), there's always something working beneath the dark eyes, suggesting survival above all else.

Still, Morgan's first half generates enough of a sense of mystery to remain involving.

However, the word "potential" is frustratingly appropriate, because for all its conceptual and performing qualities, the film is fundamentally flawed. All science fiction is metaphor, and a thriller about a hellion ingenue with a dead stare who is really a thing but has feelings anyway, and will kill you if you threaten to take them away, is expressing something about the state of girlhood today.

Morgan is a movie that I have been looking forward to for some time and looks set to be packed with twists, turns and scares.

Audiences will likely deduce Morgan's origins after the first scene, but the choice to downplay that logic, makes all of the characters' subsequent motivations desperately muddied and often confounding.

Science fiction becomes jarring when the science feels realistic. Last year's Ex Machina was not revelatory because it told the story of a robot escaping and attacking humans (hint: we all saw that coming). It instead addressed new and fascinating opinions about AI, personhood, and even a life online.

Morgan, in many ways, is a copy of a copy. Thankfully, as antidote to the obduracy, we have the warmhearted performances by standouts Toby Jones and Rose Leslie, both of whom imbue their characters with sympathetic shades that, in the end, make Morgan's malefic outburst feel of heavy enough effect. Within the portentous darkness of the bunker, where Morgan is a beloved spawn but also a specimen, he captures the shifting reflections between Morgan and Amy as they speak across a glass barrier.