Universal Pictures and Blumhouse bring back their 2022 horror character “M3Gan” to the big screen for another round of AI mayhem in “M3Gan 2.0.” Gerard Johnstone returns as director and pens the screenplay, based on a story he collaborated on with the original film’s writer, Akela Cooper.
Two years after besting M3Gan, Gemma (Allison Williams) and Cady (Violet McGraw) are living a somewhat tranquil life. Gemma is becoming a successful author and advocate for the regulation of artificial intelligence, while Cady, now aged 14, is in a rebellious stage. M3GAN, on the other hand, is being held in a small, harmless robotic doll for safety purposes.
Things take a turn, though, when a defense contractor steals M3GAN’s technology to create a military robot called AMELIA (autonomous military engagement logistics and infiltration android). Naturally, Amelia (Ivanna Sakhno) becomes self-aware, turns on her creators, and attempts an AI takeover. Despite some misgivings from her loyal tech mates, Cole (Brian Jordan Alvarez) and Tess (Jen Van Epps), Gemma takes Cady’s advice to rebuild and upgrade M3GAN for a showdown against Amelia.
The creative team behind “M3Gan” knows precisely what to do to make a hit, and that was to focus on to make the film a hit and The latest chapter in the saga of everyone’s favorite AI doll, M3GAN 2.0, trades in the sleek, campy horror of its predecessor for something flashier, louder, and oddly philosophical. And while I didn’t mind the genre switch—it’s admirable when a franchise tries to evolve—the real problem here’s straightforward: the movie overstays its welcome.
The film aims to satirize runaway AI and corporate greed but ends up lost in explosive boardroom brawls and tone-deaf jokes. M3GAN has embraced the influencer lifestyle—dancing, quoting Sartre, and channeling a sarcastic blend of HAL 9000 and a Bratz doll. While entertaining, her character leaves viewers questioning her role as protector, weapon, or philosopher.
Williams and McGraw give it their all, but many characters fall flat as stereotypes. Director Gerard Johnstone struggles to balance genres, with some visually striking moments that fail to resonate. By the film’s climax—featuring a club remix of M3GAN’s theme and a dance-off reminiscent of rejected Fortnite DLC—you may find yourself checking your watch.
At nearly two hours, “M3GAN 2.0” stretches its novelty thin. The original was sharp and silly; this sequel feels like it’s still setting the stage while the audience leaves. There are fun moments, and M3GAN still impresses, but in trying to do it all, “M3GAN 2.0” ends up being too little of everything.
Final Grade: B-
“M3GAN 2.0” is now in theaters.
Aldis Hodge is back on the case as Alex Cross for Season 2 of Prime Video’s “Cross”. Ben Watkins returns as showrunner, with directors including Stacy Muhammad and Craig Siebels.
Civil War dramas often measure valor through cannon fire and cavalry charges. However, “The Gray House*“valuates valor through coded messages, calculated risks, and the steady nerves of women who understood that information could be deadlier than any rifle. This eight-episode limited series reframes the conflict not from the battlefield, but from the drawing rooms of Richmond, where loyalty is performed, and survival depends on silence.
It’s been a month since I finished my first run at Sundance, and I’m finally getting the chance to see some of the films I missed as they began to premiere. One of those films is “In the Blink of an Eye,” which is available on Hulu. The film is directed by Andrew Stanton and written by Colby Day.