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Following in your film-making father’s footsteps can be perceived either as a credible career choice or an inevitable curse. So the question is put forth to **Morgan** first-time director Luke Scott as he oversees this kinetic but overly familiar choppy and saggy sci-fi horror-thriller. Of course Luke is the son of famed _Alien_ and _Blade Runner_ movie mastermind Ridley Scott–the co-producer of his offspring’s muddled and mediocre futuristic feature. Sure, the young Scott incorporates some of the elder Scott’s cinematic flourishes but for the most part **Morgan** toys around with interesting philosophical concepts and perceptions but fails to make any of these adventurous ingredients gel with any lingering forethought beyond the identity of a probing and generic genetics-oriented melodrama. Indeed, **Morgan** has its moments of energetic lapses but the tension is telegraphed from miles away. There is something superficial about the manufactured dilemma in **Morgan** that simply misses the mark in mustering any legitimate skepticism about artificial intelligent ingenues gone roguish. The continued genre of artificial human beings–male or female–seems like a fascinating fable to tap into the mind of humanistic arrogance and progression. With past showcases as Michael Crichton’s _Westworld_ or Steven Spielberg’s _A.I._ one can see the preoccupation with revisiting this film phenom topic especially in the age of millennium movie-making. Unfortunately, the arrival of the mediocre **Morgan** does not quite follow a glorious path in this cinematic tradition. The center of attention in this lucrative experimentation of artificial life forms involves a “girl” named Morgan (Anya Taylor-Joy). The construction of Morgan is quite ambitious as she is composed of synthetic DNA while placed physically in the body of a wild-child acting teenager. Morgan has the mentality (and physicality) of 5-year old lab-grown specimen kid and we get to check out her so-called psychological malfunctioning when she aggressively attacks Dr. Kathy Grieff (Academy Award nominee Jennifer Jason Leigh, “The Hateful Eight”) in her claustrophobic room. When Morgan tragically stabs Dr. Grieff in the eyeball we are bluntly hit over the head with the brutal hinting that this little hoodie-wearing dangerous diva is a walking disastrous time-bomb waiting to happen among the opportunistic human lab technician capitalists that invented her caustic existence. Enter Lee Weathers (Kate Mara). Corporate risk analyst consultant Lee is sent by her profitable employer to the remote testing lab where Morgan was conceived to obviously oversee their expensive investment in the artificially crafted feminine pet project that now is showing telling signs of defiance and disobedience. The uncontrollable Morgan is an unhinged handful to contain and the lab staff at the facility are scattering about to contain the selective damage done by her destructive hands. In general, the massive and deep-wooded compound that houses Morgan and the various doctors, lab techs, researchers and business associates that come in unison for the sake of human technological tampering is a sinister setting to say the least. Morgan is downright deadly and not a techno-tart to tangle with at will. As Dr. Kathy continues to nurse her severe eye-related wounds inflicted by the haunting human-like honeybun with indescribable speed and strength the other facility caretakers realize that the brooding Morgan may in fact be too much to handle for the self-appointed brilliant scientific minds that gave her questionable life. Among the brainy bunch that are trying to lasso the unpredictable tiny terror is Morgan’s main creator in the Nervous Ned-like persona of geeky Dr. Simon Ziegler (Toby Jones). Dr. Lui Cheng (Michelle Yeoh from “Mechanic: Resurrection”) is not new to the controversial rodeo where humanoid experimentation is concerned (resulting in Lui’s former colleague’s tragic fates). Married doctors in Brenda and Darren Finch (Vinette Robinson and Chris Sullivan) hold some glossy parental fondness for the hostile teen-experiment-in-turmoil. Dr. Amy Menser (“Game of Thrones” star Rose Leslie) has eerily taken some head-scratching “fancy” to the youthful Morgan that goes beyond inappropriate means. Rounding out the colorful group that cater to the facility functioning (and Morgan’s every step of chaos) is Lee’s tour guide Ted (Michael Yare) and cooking guru Skip Vronsky (Boyd Holbrook). **Morgan** has some tension-filled wallop that resonates occasionally but the draggy drama never quite stimulates to the point of presenting Taylor-Joy’s lab-table vixen as nothing more that a brutish brat with a temper. The thought of Taylor-Joy’s minor-aged monster being unleashed on an unsuspecting world must have looked intriguing on the creative drawing board. However, being a pesky thorn in the side of misguided scientific minds does not exactly spell tasty devastation on society as a whole. In fact, we find ourselves cheering for the maligned Morgan to knock off these myopic medical duds to get some guilty pleasure relief from this lethal but lumbering horror sideshow. Owens’s labored script is never challenging enough to buy into the cynicism of the profitable propaganda involving artificial intelligence at the expense of human curiosities.** Morgan** routinely dips into the blank coldness of hollow despair with only Taylor-Joy’s random naughtiness as the reliant stimulant. Mara’s Lee Weathers is surprisingly effective as the truth-seeking corporate drone out to uncover the mysteries of Morgan and the pricey lab compound that needs to prove its usefulness to her inquiring organization. Paul Giamatti pops up as the only sensible soul diagnosing the unwound Morgan as a potential toxic teen to the world environment. There is some slickness and saucy sentiments to the uneven **Morgan** but it channels nothing dynamically distinctive from other considerable fare that competently tapped into this theme with more profoundly in-depth pizzazz and promise. Morgan may be a super-powered enigma and the hard-nosed Lee Weathers wants this frenzied freak show deactivated and put out of her misery. This is rather funny because the true troubleshooters that need deactivation are the **Morgan**-made manipulators (both on screen and off screen) that should return to the lukewarm lab room. **Morgan** (2016) Scott Free Films 1 hr. 32 mins. Starring: Kate Mara, Anya Taylor-Joy, Toby Jones, Rose Leslie, Jennifer Jason Leigh, Paul Giamatti, Michelle Yeoh, Rose Leslie, Vinette Robinson, Chris Sullivan, Boyd Holbrook, Michael Yare Directed by: Luke Scott MPAA Rating: R Genre: Horror & Science Fiction/Fantasy & Technology/Artificial Intelligence Drama Critic’s rating: ** stars (out of 4 stars) (c) **Frank Ochieng** 2016
"Alex Garland’s 2015 cult hit Ex Machina, with Alicia Vikander as the robo-girl, trod similar ground; it proved more intellectually ambitious, though Morgan is a dash more fun..." Read the full review here: http://screen-space.squarespace.com/reviews/2016/11/16/morgan.html
**Knowing it's a research, the mistake is emotionally attached to the subject!** A nicely made sci-fi-thriller, but the entire storyline was built on a very familiar plot. You can find it similarities with 'Splice', 'Uncanny' and 'Ex Machina', but I think overall not a bad attempt. I did not get impressed, so do most of the people who saw those films, especially the end scene. Though it is entertaining, particularly when it turns into an action mode. The corporate that invested in a research sends an investigator named Lee after the project was met with a small accident. During an interview, the chaos unleashes and the lab started to fall apart. The survivours does not know who to trust, but decides to save their subject. What really follows after that will be totally unexpected and another twist before the final credits. Knowing it's a research, the mistake is emotionally attached to the subject. That's what all the similar topic films reveal. Then what's the point of doing such test, being doctor, studied psychology. For a film plot, they wanted to use the human sentiments and errors. Otherwise, science does not really deal like what was shown in this film. From a new director, with the decent actors, particularly Kate Mara's best in an action avatar. I liked the Anya in the film 'The Witch' and this is another good performance by her in the title role. Felt like it is a short film, because the pace was so good, even though the story was a one-liner. Minimal cast film and takes place in a remote place secret research lab. A film not for everyone, but not bad for once viewing. _5/10_
While critically reviled, I found this to be a taut, tense genre exercise driven by a superb performance from Anya Taylor-Joy.
Morgan is a great Science Fiction movie. Horror... not so much. The acting is believable and even though this movie will not blow your mind, it is very enjoyable. The first half drags a bit, but as things get going, the movie shows its stronger side. I found myself not being bored of it at all and Luke Scott, the son of Ridley Scott, directed this one very well. The movie looks great, the sound is top notch and Morgan is the ideal movie to just lean back, relax and open a pack of chips.
It's a story of one night where estranged lovers Kartik and Vasuki end up meeting each other after 12 years under strange circumstances. Kartik is on a run for being a murder suspect. However, there is more than what meets the eye.
Set in the 22nd century, The Matrix tells the story of a computer hacker who joins a group of underground insurgents fighting the vast and powerful computers who now rule the earth.
Six months after the events depicted in The Matrix, Neo has proved to be a good omen for the free humans, as more and more humans are being freed from the matrix and brought to Zion, the one and only stronghold of the Resistance. Neo himself has discovered his superpowers including super speed, ability to see the codes of the things inside the matrix and a certain degree of pre-cognition. But a nasty piece of news hits the human resistance: 250,000 machine sentinels are digging to Zion and would reach them in 72 hours. As Zion prepares for the ultimate war, Neo, Morpheus and Trinity are advised by the Oracle to find the Keymaker who would help them reach the Source. Meanwhile Neo's recurrent dreams depicting Trinity's death have got him worried and as if it was not enough, Agent Smith has somehow escaped deletion, has become more powerful than before and has fixed Neo as his next target.
The human city of Zion defends itself against the massive invasion of the machines as Neo fights to end the war at another front while also opposing the rogue Agent Smith.
All grown up in post-apocalyptic 2018, John Connor must lead the resistance of humans against the increasingly dominating militaristic robots. But when Marcus Wright appears, his existence confuses the mission as Connor tries to determine whether Wright has come from the future or the past - and whether he's friend or foe.
In the aftermath of an incurable virus spread, a robot seeking to eradicate humanity deceptively guides a Red Cross survivor to sanctuary with the false hope of his family awaiting in Safe Zone 57.
People in the future live in a totalitarian society. A technician named THX 1138 lives a mundane life between work and taking a controlled consumption of drugs that the government uses to make puppets out of people. As THX is without drugs for the first time he has feelings for a woman and they start a secret relationship.
In a dystopian future, insurance fraud investigator William Gold arrives in Shanghai to investigate a forgery ring for "papelles", futuristic passports that record people's identities and genetics. Gold falls for Maria Gonzalez, the woman in charge of the forgeries. After a passionate affair, Gold returns home, having named a coworker as the culprit. But when one of Gonzalez's customers is found dead, Gold is sent back to Shanghai to complete the investigation.
After a lightning bolt zaps a robot named Number 5, the lovable machine starts to think he's human and escapes the lab. Hot on his trail is his designer, Newton, who hopes to get to Number 5 before the military does. In the meantime, a spunky animal lover mistakes the robot for an alien and takes him in, teaching her new guest about life on Earth.
A group of scientists are sent on a mission to destroy unstable planets. Twenty years into their mission, they have to battle their alien mascot as well as a "sensitive" and intelligent bombing device that starts to question the meaning of its existence.
A comedic drama about a group of people (and several robots) living on a space station in a 1970s-version of the future. When a new Assistant Captain arrives, she inadvertently ignites tensions among the crew, prompting them to confront their darkest secrets. Barely contained lust, jealousy, and anger all bubble to the surface, becoming just as dangerous as the asteroid that’s heading right for them.
