M3GAN 2.0 (2025)

Studio:   Blumhouse/Universal
Director: Gerard Johnstone
Writer:   Gerard Johnstone, Akela Cooper
Producer: Jason Blum, James Wan, Allison Williams
Stars:    Allison Williams, Violet McGraw, Brian Jordan Alvarez, Jen Van Epps, Amie Donald, Aristotle Athari, Timm Sharp, Jenna Davis, Ivanna Sakhno, Jemaine Clement

Review Score:


Summary:

M3gan, the rogue A.I., convinces her creator to rebuild her with deadly upgrades in order to combat a weaponized clone threatening to overthrow humanity.


Synopsis:     

Review:

“M3GAN 2.0” should be much more fun than it is. On paper, the details powering the premise of two rogue robots recreating “Terminator 2” as a girlboss faceoff probably sounded like a real riot.

Story-wise, the carefree script incorporates classic comic book beats like a kidnapped scientist forced by terrorists to develop a synthetic neurotoxin. Joke-wise, dialogue gets sprinkled with oddly specific one-liners about Teletubbies and Portuguese prostitutes. Acting-wise, Jemaine Clement of Flight of the Conchords and “What We Do in the Shadows” generously salts his tech billionaire ham as a cross between Stephen Hawking and Steve Jobs who is also a mix of drunk Tony Stark and that guy who created “Girls Gone Wild.”

Good-humored B-movie fans will always embrace weirdness and wave away nonsense when it’s in their best entertainment interests to go with the flow of a fantasy. But if a film is going to rely on as many MacGuffins, deus ex machinas, and cliches as “M3GAN 2.0” uses to keep momentum moving, it also needs to provide fresher features than a recurring Steven Seagal gag to convince fans to keep looking the other way, especially by the time a THIRD remote-detonation device comes into play.

“M3GAN 2.0’s” first turn down a bumpy road comes from a runtime that touches the two-hour mark, which is simply too long to sustain a popcorn flick plot with an indeterminate identity partially formed from tongue-in-cheek self-awareness. The movie’s not-quite-horror, not-quite-comedy niche needs to hit a tighter sweet spot. Having the same length as a “Downton Abbey” period drama is an invitation to overstay an initially warm welcome by inevitably dipping into dry ditches.

Coming as no surprise to anyone who has seen a sequel before, despite her apparent “death” at the end of the first film, “M3GAN” (review here) was not the last we would see of the titular horror heroine. Before she can come back, we’re first introduced to “AMELIA,” an autonomous android constructed from M2gan’s blueprints with an additional design to develop her into a military-grade weapon. As usually happens in such scenarios though, Amelia doesn’t particularly care for her programming, so she operates on an independent algorithm that permits her to create catastrophic chaos through killing sprees and computer system takeovers.

Cue M3gan conveniently popping up with a plan to stop Amelia. Her scheme involves convincing her creator, Gemma (Allison Williams), to implement upgrades capable of competing with her cloned counterpart. That’s a tough pill to swallow for someone M3gan previously tried to murder, but a series of wild events gradually forces Gemma to reconsider. Gemma’s niece Cady is concerned about reviving the troublesome A.I., yet M3gan ultimately gets brought back online to battle the other bot.

Duration isn’t the only place where “M3GAN 2.0” gets bit by bloated numbers. The movie also contains too many people for servicing a straightforward setup. For being as long as it is, “M3GAN 2.0” could cut down on clutter by cutting out characters, especially those with redundant purposes. I’m reminded by my summary of the first film that Gemma’s returning programming pals, Tess and Cole, previously appeared in “M3GAN,” otherwise I would have said either one of them could fill both of their functions. The fact that I completely forgot the duo says something about their value to begin with.

Even necessary characters like Amelia present problems for the film. Yes, she’s a robot, but her nonviolent interactions are so emotionless, it’s like watching a vacant-faced mannequin perform a pale imitation of Robert Patrick. When his T-1000 memorably melted through prison bars to continue pursuing John Connor, he looked menacing, and the moment felt frightening. When Amelia unfolds herself from a suitcase she sneaked into, it seems like a common stunt a Hollywood Boulevard contortionist performs after climbing into a newspaper vending machine.

“M3GAN 2.0’s” shift from techno-terror to sci-fi action spiced with occasional jokes didn’t sit well with some fans of killer doll/robot movies. Personally, I admire the wide swing the creators took by venturing into uncharted territory only two entries into a new franchise. It’s just unusual to see big genre names like producers Jason Blum and James Wan hit a soft grounder instead of using their powerful bats to launch a maniacal missile over the centerfield wall. Mixing my sports metaphors, this seems like a circumstance where splashing the pot with bolder silliness, or cheekier cleverness, might have provided a bigger payout than what “M3GAN 2.0” pushes across the table.

Review Score: 55