Tips for young filmmakers hoping to break out from under the shadow of their famous filmmaker daddies with their directorial debuts: Don’t make a movie that invites comparison to one of Daddy’s best known, best loved, and just plain best movies. And if you must do that, consider ensuring that your movie compares favorably to Daddy’s movie.
PS: Luke Scott, son of Ridley, is not that young. (He’s 48.) And his directorial debut, Morgan, does not compare favorably to Blade Runner. And the comparisons are inevitable. Morgan thinks it’s riffing on an intriguing ambiguity of Blade Runner, but all it does is spin it into something concrete, rendering moot any meaningful exploration of a similar theme: What does it mean to be human… or not human? Such notions are barely touched upon here, and instead have been replaced by a supposed cleverness that isn’t anywhere near as clever as it could have been.
Lee Weathers (Kate Mara: Captive, The Martian) is not your ordinary corporate risk-management consultant: she’s packing. And it’s pretty obvious from the get-go that her mission to assess the viability of a secret research project hidden way out in the woods involves deciding whether to terminate the project’s product, Morgan (Anya Taylor-Joy: The Witch), a sort of artificial human. There’s been an incident, see, and one of the researchers working on the project (Jennifer Jason Leigh: The Hateful Eight, Anomalisa) has been injured, by Morgan. Is Morgan a danger? Apparently there are shades here of something terrible that happened to another iteration of the project in Helsinki, and god knows, the corporation does not need another Helsinki on its hands.
Now, there are all sorts of potentially compelling science-fictional ideas that Morgan could have delved into. What makes Morgan different from a regular human? What purpose do the team of scientists — and the corporation behind them — have in manufacturing people at great expense when there would appear to be a surplus of free-range humans running around? I mean, sure, the script, by Seth W. Owen, tosses around a lot of sci-fi terms such as “artificial DNA” and “emergent precognition”; I seem to recall a “nano” somethingorother, too. The movie offers a few hints at the benefits of people like Morgan; she has had accelerated growth and at age five appears to be in her late teens; there could be reasons why it might be useful to get (physically) fully grown people in a quarter of the time it usually takes. But the whys and the wherefores of the Morgan technology don’t interest the script: it just wants to get to the violence that Morgan can do. (While there is a definite appeal in Mara and Taylor-Joy brawling their way through the sort of muscular action sequences usually left to the guys onscreen, this is a distraction from what should have been the meat of the movie.) Even the “standard psych evaluation for fourth-level AI” that a visiting shrink (Paul Giamatti: Ratchet & Clank, Straight Outta Compton) carries out on Morgan is all about pushing her till she lashes out, and nothing about exploring what it means to be an AI-enhanced artificial human, regardless of how Voight-Kampff-ish “standard psych evaluation for fourth-level AI” sounds. For all its would-be SF headiness, Morgan would not be a materially different film if it were about a regular ol’ kid raised in captive isolation who’d come to resent her keepers.
With its appealing noirish vibe, Morgan looks great. And the fantastic cast — which also includes Rose Leslie (The Last Witch Hunter, Honeymoon), Toby Jones (Alice Through the Looking Glass, The Hunger Games: Mockingjay – Part 2), and Michelle Yeoh (Mechanic: Resurrection, Kung Fu Panda 2) among the research staff — is so earnest and so engaged that you’re almost fooled into thinking Morgan has something meaningful to say; they’re the only reason this is worth a look. Because in the end, Morgan is disappointingly narrower, smaller, and more self-limiting than all the elements here would seem to point to.