#lukescott

I think it’s safe to say that science-fiction is in the midst of a revitalized run, so much so that it’s starting to combine with other genres.  With sci-fi horror, sci-fi drama, sci-fi comedy and sci-fi love stories all making waves with viewers, it’s seemingly common sense that a sci-fi action film would make a run at it.  Among the many that have hit the mainstream (and their have been many), Morgan caught my eye upon initial release, and I’ve finally gotten around to checking it out. 

Lee Weathers (Kate Mara) works for SynSect as a ‘risk-management specialist’ for the genetic-engineering giant.  She is assigned to assess the level of risk for the L-9 Project’s prize creation, a nanotechnology-infused synthetic DNA-based creature named Morgan (Anya Taylor-Joy) that recently stabbed Dr. Kathy Grieff (Jennifer Jason Leigh) in the eye.  At only five years old, Morgan is smarter than most humans, matures rapidly, and already appears to be a teenager, all disturbing traits for the eerily reserved creature.  The assault on Dr. Grieff was in the wake of punishment, as Morgan was being disciplined for killing a deer impaled on a tree while on an outing with Dr. Amy Menser (Rose Leslie).  Despite urging from project leaders Dr. Lui Cheng (Michelle Yeoh) and Dr. Simon Ziegler (Toby Jones), as well as the rest of the team, Weathers insists on Morgan being treated as non-human, and allows an examination from Dr. Alan Shapiro (Paul Giamatti) to proceed.  The results are terrifying, and the hunt that ensues in the wake of the tragedy becomes a game of predator versus prey where the stakes are ever-changing, and every life involved is at stake.

Morgan finds itself somewhere in the space between the Turing test elements of Ex-Machina and the evolutionary machinations presented in Lucy, while not necessarily committing fully to either depth.  This middle ground may be of service to the film, in the sense that it does not take its science overly serious, though it does take quite a bit of time to ingrain an understanding of how blurred the lines are in regards to Morgan’s human traits in comparison to her engineered ones.  We are, essentially, given an origin story by way of proxy, due to concepts we are familiar with from film and pop culture, so that once the proverbial rubber hits the road we don’t question the ride.  Fans that deem themselves intellectual will get just enough service from the science and moral dilemmas presented, while the casual viewer will be satisfied once things kick into high gear.

The institutionalization of Artificial Intelligence and bio-engineering shown in the film not only serves as a slight mirror to our societal innovations, but it helps keep the lines of protagonist, antagonist, and even wrong versus right ambiguous.  All sides certainly have logical and emotional ground they can stand on it terms of justifying their actions, and most of the actions taken within the film are ultimately self-serving as opposed as for the greater good.  Even the reveal provided at the film’s resolution undercuts the agenda that you assume Lee has going into the film (though the turn is not the most shocking in the world).

Identity, as with many science fiction films of this ilk, finds itself a key driving force for Morgan.  The age old question of what constitutes human nature is given front and center attention via demonstrations, confrontations and emotional testimonials.  Even the constant tug of war between identifying Morgan as either ‘she’ or ‘it’ during the exposition-laden opening act is meant to specifically inform as to how we should feel about Morgan in light of the inevitable turn for the worse simmering just below the surface of the proceedings.  The film isn’t necessarily trying to make a grand statement on identity, but it is a great vehicle to use in the scope of this narrative to keep viewers unsure of who to side with and who can be trusted.    

Kate Mara holds it down as an unlikely action star, with her steely demeanor offsetting her smaller presence to keep her feeling edgy and dangerous.  Anya Taylor-Joy’s cold, calculated and precise choices work well for Morgan, giving her a feel of more than human, not quite machine.  Toby Jones and Michelle Yeoh play surrogate parents well, with their offsetting wants, needs and motives causing emotional turmoil to their ‘child’.  Paul Giamatti delivers in his role as catalyst for the point of no return in his minor (albeit important) role.  Rose Leslie provides a character easy for the audience to make an emotional connection with, so that we feel just overwhelmed as her while things spin out of control.  Boyd Holbrook plays a voice of reason, though one that finds himself ultimately drowned out by the weight of the narrative as it shifts gears.  Jennifer Jason Leigh takes limited screen time to make a lasting impression, despite it being an unsettling and painful to watch one.