M3GAN 2.0 (2025)

​“M3GAN 2.0” stars Allison Williams, Violet McGraw, Amie Donald, Jenna Davis, Brian Jordan Alvarez, Jen Van Epps, Ivanna Sakhno, Timm Sharp, Aristotle Athari, and Jemaine Clement.  Released on June 27, 2025, the film has Gemma and Cady encountering the return of M3GAN and the rise of a new rogue robot.

The film is written and directed by Gerard Johnstone, who also directed the movie “Housebound” and the television shows “The Jaquie Brown Diaries”, “Terry Teo”, and “The New Legends of Monkey”.  It is the sequel to Johnstone’s 2022 horror film “M3GAN”.  I often learn that dolls, whether real or computerized, can leave people feeling uncomfortable, including myself, particularly due to their unsettling plastic faces that come equipped with thousand-yard stares.  It also doesn’t help that some of them look like they have the intent to murder you in your sleep, amplifying the fear further with them being possessed by demons or AI.  If you’re wondering why I don’t collect dolls, there’s your reason.  The year 2022 introduced us to a new AI doll worthy of highlighting those fears, one whose protective programming resulted in some deadly outcomes reminiscent of “The Terminator”.  The one I’m referring to was “M3GAN”, a self-aware artificial intelligence doll who won many teenagers’ hearts with her psychotic nature, unhealthy obsession, and Tik-Tok-inspired dance moves.  After making a killing at the box office, the deadly robotic doll has been rebuilt to dish out another round of AI mayhem.  However, it looks like she’s got some fierce robot competition aiming to steal her thunder.  Does it have the proper programming to deliver a frighteningly fun AI mashup, or is it destined to be shut down permanently?  Let’s find out.

The story occurs two years after the events of “M3GAN”.  Roboticist Gemma (Williams) and her niece Cady (McGraw) are pursuing different paths, with Gemma becoming an author and an advocate for the regulation of artificial intelligence.  After ending M3GAN’s (Donald/Davis) reign of terror, Gemma encases the deranged robot’s programming within a small, harmless doll to prevent any future calamities.  However, their peaceful lives are disrupted when Gemma discovers that a defense contractor has secretly stolen M3GAN’s technology to develop an advanced military robot.  Unbeknownst to the military, this cyborg, named AMELIA (Sakhno), possesses M3GAN’s self-awareness, leading it to go rogue and initiate an AI takeover.  Aware of AMELIA’s formidable capabilities, Gemma and Cady must rely on their most unexpected ally, M3GAN, to battle the rogue AI and save the world from annihilation.

“M3GAN” is one of the films that surprised me more than I anticipated.  It was initially seen as an AI version of “Child’s Play” due to its premise of self-aware dolls wreaking havoc.  While that may be the case, the movie is also a surprisingly fun blend of horror and campy humor that explores the dangers of artificial intelligence and the human connection severed by this type of technology.  While it didn’t revolutionize the horror genre in the same way artificial intelligence has for us, it was entertaining enough for me to appreciate it, compared to how others feel about this technological upgrade.  Given the current situations involving AI, I also believe that “M3GAN” couldn’t have come at a better time.  This has left me quite curious about its sequel, which provided a surprisingly different direction for the antagonistic AI doll, as well as an upcoming spin-off film set in the same universe.  But before we delve into the latter, which is set for release next year, let’s turn our attention to the ongoing adventures of our favorite viral killing machine.

The first film unfolded as a conventional horror film featuring M3GAN’s killing spree as a means of protecting Cady from harm, with some moments of unintentional humor in her programming to boot.  However, “M3GAN 2.0” takes an intriguingly different route by making the malevolent AI doll the “anti-hero” and incorporating action elements into the horror genre, particularly through her battle against an even more formidable AI robot.  This genre shift was previously included in James Cameron’s “Terminator 2: Judgment Day,” where the titular antagonist evolves into a hero facing a more sinister Terminator.  Additionally, the sequel placed greater emphasis on the action elements compared to its predecessor, which leaned towards sci-fi horror.  This pivot resulted in “Judgment Day” being celebrated as one of the greatest sequels ever made.  However, it also presented a significant challenge for “M3GAN 2.0” and its director, Gerard Johnstone, to replicate that success with its blend of campy humor and action, especially given the current audience’s expectations.

With Johnstone back at the helm as director, it was supposed to be a clear indication that “M3GAN 2.0” would replicate its predecessor’s successful formula, blending campy humor, chilling scares, and action-packed thrills.  However, it’s not without its social commentary, which involves AI technology that injects the real-life phobia of a robotic takeover into the narrative.  However, it appears that the sequel neglected to reinstall the “horror chip” in its system during the upgrade.  The first film may not be overly scary in terms of traditional horror elements, but that didn’t make M3GAN’s violent rampage any less thrilling, especially when combined with some silly humor that delivered effective chuckles and genuine fun.  “M3GAN 2.0,” on the other hand, seems to have lost its grip on the horror component altogether, resulting in a sequel that felt like a completely different film compared to its predecessor.  There have been a few sequels that successfully shifted from horror to action for the better, notably the aforementioned “Terminator 2” and “Aliens.”  Both of these movies evolve their genres while maintaining the essence of their predecessors, not just through their fun popcorn thrills but also through the stories that justify the alterations to the genre and characters.  Unfortunately, “M3GAN 2.0” struggled to find this balance, lacking the proper programming to help it stand alongside these iconic genre-blending follow-ups.

It may offer a few mildly entertaining moments that warrant the titular character’s return.  However, the sequel feels like a mere shadow of its former self, leaning heavily on mundane narrative tropes instead of injecting innovation into its system.  One of the reasons was Gerard Johnstone’s screenplay, which he wrote himself instead of Akela Cooper, who wrote the script for the first film.  While “M3GAN” was fairly conventional in its genre clichés, Akela Cooper’s script overcame those limitations with its silly yet fun dialogue, the intriguing relationship between Gemma and Cady, and decent social commentary.  “M3GAN” was a relatable and consistently entertaining examination that had something essential to say about our current relationship with technology amid its horror thrills and creepy robotic singing.  So, how does Johnstone live up to this storyline in the sequel?  By making it into a “Terminator 2” rip-off that lacks the fundamental elements that made it an iconic piece of cinematic history.

To his credit, Johnstone made a wise decision to continue the social commentary on AI technology introduced in the first film.  With its predecessor centering on a severed human connection caused by AI, “M3GAN 2.0” progresses this theme by focusing on the regulation of artificial intelligence.  It explores the implications of potential laws aimed at curbing AI usage in the aftermath of M3GAN’s destructive spree.  Undoubtedly, this aspect of the storyline is relevant, reflecting contemporary concerns about our reliance on AI as shortcuts for daily tasks and the potential risk to our health, human connections, and safety.  Amid the film’s campy tone, the story presents people’s societal distrust of AI technology, as well as the means of understanding it better to ensure a safe future.  This is the case for Gemma, who developed a lack of faith in M3GAN after the latter’s attempts to kill her.  But, with AMELIA on the loose, Gemma would have to reluctantly put aside her grudge to allow M3GAN to kick robot butt.

There were certainly some good intentions in Johnstone’s script regarding its themes, particularly in how M3GAN discovers a human side beyond her ones and zeros.  Sadly, those intentions were improperly rewired in favor of a formulaic, excessive, and uninspired save-the-world-from-AI narrative.  One of the missed opportunities lies in the relationship between Gemma and Cady, both of which struggled to connect as Gemma moved forward in promoting AI regulation.  The characters’ bond was central to the heart of the original film, enriched by the social commentary and the actresses’s performances.  “M3GAN 2.0” pretty much followed the same routine as its predecessor in developing a connection, but without the heartfelt spark that made the original compelling in the first place.  This was due to Gemma herself, who may have some understandable motives, but some of her decisions undermine the character’s credibility.  There’s nothing wrong with a straightforward action film, especially one with promising story elements. However, with a script burdened by genre tropes, forgettable humor, and a dull emotional grasp, it suggests that Gerard Johnstone may be better off directing the action instead of writing it.

The reason I mentioned this is because Gerard Johnstone has a pretty commendable vision for its presentation.  It may not be groundbreaking by filmmaking standards, but Johnstone demonstrated an evident aptitude for showcasing the film’s neon-lit effects and mildly campy vibes, ostensibly creating a visually appealing atmosphere.  I would even say that he did surprisingly well with the action sequences, invoking a zestful spark into the violence, practical effects, and dynamic camera movements.  The most prominent sequences that highlighted this direction well were the ones in the third act, including M3GAN’s confrontation with AMELIA, which was not only visually alluring but also somehow satisfying.  While the scenes between the action sequences seem like a chore to endure, especially with the editing striving to keep things teen-rated, seeing the two robots duke it out was enough to satisfy my given expectations and even those eager to see it unfold.  

But what about his balance of campy humor and horror?  Well, as I previously mentioned, the movie leaned more toward action than traditional horror, so it’s pretty much the most non-horror horror movie I’ve seen this year.  This change meant that Johnstone would have to rely on its action-comedy elements to carry the film rather than scares, which he also struggled to accomplish.  There were only a few amusing moments involving M3GAN, mainly in the film’s second half, that kept me from shutting down completely, but the other ones didn’t hit the right buttons as the ones in its predecessor, failing to match most of the original film’s humorous intentions.  The movie also suffered from its two-hour runtime, which stretched the plot more than necessary, particularly when compared to its predecessor’s breezy length of an hour and forty minutes.  This duration caused the film to drag in places, even though Johnstone’s vision was appealing enough to grab my interest.

Of course, the amusing appeal of M3GAN was due to the talented individuals behind the creation.  Amie Donald, who infused M3GAN with her physical presence, and Jenna Davis, who brought her robotic voice to life, proved themselves once again to be pivotal roles in the character’s success.  Undoubtedly, Donald’s expertise in dancing never failed to inject some liveliness into the AI robot, particularly in the one scene where M3GAN infiltrates a party hosted by tech mogul Alton Appleton, portrayed by Jemaine Clement.  As for Davis, her approach to M3GAN’s robotically autotuned voice was another solid blend of humor and unease that made the AI doll into a rising star, even if her jokes didn’t provoke as many laughs as I thought they would.  Allison Williams also continued to do pretty well in her role as Gemma, and Violet McGraw delivered another decent performance as Cady, further demonstrating promise in her acting career.  Ivanna Sakhno first gained attention in Ukraine for the sitcom, “Lesya + Roma,” before tackling roles in specific cinematic projects in America like “Pacific Rim Uprising”.  Of course, Star Wars enthusiasts may recognize her as Shin Hati in the “Ahsoka” series.  “M3GAN 2.0” has Sakhno playing the villainous AMELIA, and I thought she didn’t do too badly.  It’s nowhere near as convincing as Jenna Davis’s M3GAN, but it’s tolerable enough to move her career forward.  

Overall, “M3GAN 2.0” possesses the narrative and tonal bugs in its system that hinder its functionality.  On the one hand, it provides a refreshing direction that prevents it from being too repetitive, with Gerard Johnstone’s direction for the action scenes highlighting its mildly entertaining essence.  On the other hand, it’s also a generic and inconsistently balanced action sequel that relies heavily on its familiar genre tropes rather than its insightful social commentary.  It aims to emulate “Terminator 2” in its shift from horror to sci-fi action, but it lacks the heart, convincing charm, and memorable thrills that popularized that sequel.  Well, technically, there is some charm provided by Amie Donald and Jenna Davis’s portrayal of M3GAN, but not enough to make it more fun than it should be.  Despite the efforts made by its cast and Gerard Johnstone to make it watchable, this “horror” sequel malfunctions faster than expected due to its subpar screenplay, absence of scares, forgettable humor, and excessive runtime.  There’s no doubt that people who enjoyed the first film might find some enjoyment in the sequel, and I hope they do more than I could.  Otherwise, it may be best to leave it off for the remainder of the summer.       

C-