Minor spoilers ahead, but still a lot less revealing than the trailer.
I’m feeling a little lonely here. Few people seem to like Morgan, the 2016 sci fi thriller written by Seth Owen and directed by newcomer Luke Scott. Among its producers is Luke’s rather more famous father, Ridley Scott, which I guess explains why Luke got such a stellar cast for his feature-length directorial debut.
Morgan (Anya Taylor-Joy, who looks like she might be Hollywood’s new It-Girl) is a genetically engineered child – the ‘L-9 prototype’ – with advanced, accelerated emotional and physical development. Something is clearly wrong with her design however; when Dr Kathy Grieff (Jennifer Jason Leigh) tells Morgan that she won’t be allowed to go outside for a while, Morgan stabs her repeatedly in the eye.
A corporate risk management consultant, Lee Weathers (Kate Mara) is sent to assess the viability of the project, as explained by a voiceover from her superior, played by Brian Cox. Lee is a stone-cold professional whose ruthless manner doesn’t go down well with most members of the team of specialists who designed, created and care for Morgan, because they’ve come to see her as their child, and formed a kind of family unit around her. Instead of lab tests and training sessions, video footage of the L-9 project shows the team playing with Morgan outside and throwing her a birthday party. They speak of her with pride and love, and Lee crisply tells them that Morgan is not a ‘she’ but an ‘it’ who has no rights whatsoever.
Because it concerns a young, artificial creature whose humanity is called into question, considers the difficulty of humans having close or intimate relationships with artificial beings, and features an isolated research facility in the woods, Morgan gets compared to movies like Splice (2009) and Ex Machina (2014), and it doesn’t fare well. The other two are genuinely interested in the methods and ethics of creating artificial life. In Scott’s movie, it’s not long before you stop asking whether Morgan can truly feel human emotion and settle down to see if she can beat Lee in brutal hand-to-hand combat or not.
Morgan gleams with potential but remains determinedly superficial. For example, when Dr Alan Shapiro (Paul Giamatti!) conducts a psych evaluation, he interrogates Morgan about the fact that she calls the team her friends. She may consider them friends, he says, but do they consider her as such? Would a friend keep you locked in a cage? It’s a good question. Can the scientists be her friends in any meaningful way? Can you be friends with a person or creature you created to be a weapon, a ‘potential product line’? What responsibilities do Morgan’s creators have towards her? Well, think about that on your own time; this film just gets violent.
Similarly, there’s the troubling question of Morgan’s relationship with behaviourist Amy (Rose Leslie) who has ‘boundary issues’. Amy is clearly attracted to Morgan and the feeling may be mutual. There’s no evidence that their relationship has become intimate, but it could, if given the opportunity. The thing is, Morgan is five years old. What the fuck is Amy doing? Then again, Morgan develops at an accelerated rate, so she already looks like a teenager, and she has enhanced emotional development. She’s a new kind of life form, so we can’t necessarily judge their relationship according to the usual standards. If this sounds complicated, well, you need not worry because the movie doesn’t have the guts to take it any further anyway.
I wondered though, if Morgan is manipulating Amy and the other characters, perhaps to ensure her own survival or just because that’s how she’s learned to be around people. We know that she has some level of precognition, as demonstrated when she gets under Dr Shapiro’s skin by revealing that he has a daughter who he doesn’t get to see very often. How much of her behaviour involves her ‘reading’ people and behaving in whatever way they want or expect her to behave? Not that that’s especially disturbing; isn’t it just an enhanced version of how most people behave? Nevermind – skip to action sequence.
Despite its commitment issues, I like Morgan. A lot. It isn’t the cerebral sf thriller that it might look like, or that its cast seems to suggest it is but it’s way better than most of the commercial sf out there, especially the superhero movies that get much more attention. I’m comparing them because Morgan gave me the entertainment I want but seldom find in the latest blockbusters. I don’t expect them to be brilliant; I just want them to be fun, but they’re way too long and they generate such little interest in the characters and plots that even the action scenes bore me. They waste my time.
Morgan didn’t. It’s fast-paced and efficient, stylish, and exceptionally beautiful to look at. I like the colour palettes and the way they shift with the narrative. Most of the major characters are female and the film doesn’t objectify them.
It successfully occupies an interstitial space that’s thoughtful enough to engage my intellectual interests, then indulge my mindless ones. It blooms with ideas, but avoids the risks of dealing with them. Yes, that’s cowardly. It starts out smart and geek-chic, then goes mainstream. That can be seen as a good thing, not because martial arts are more exciting than moral debates, but because the latter requires a deft touch. Of course, I have no idea if Seth Owen and Luke Scott were up to the task; I’m saying it might have been worse if they’d tried and performed poorly. As it is, I found plenty to think about, to enjoy, and I can’t argue with my own satisfaction.