★★☆
A sci-fi thriller unlike any other, Morgan addresses the humanity to be found in artificial creation, the relationships possible between the creator and their experiments, and the strains those relationships bring with them.
Kate Mara plays Lee Weathers, the stern risk assessment consultant who takes on a mutant science project created by scientists at the specialist research company she works for, after an incident at the research facility leaves company directors concerned. Mara greets viewers looking like a small child playing dress-ups in her mother’s clothes, making it hard to take her pursed-lipped character seriously. She softens up, however, when the team of scientists are introduced and their story takes over.
The first half of the film sees this motley crew of scientists plead the humanity of their ‘baby’ Morgan, played by Anya Taylor-Joy – she’s the five-year-old L9 model of a weaponised hybrid with advanced growth and cognitive skills, though with the appearance of a teenager.
It’s a slow start – you have to anticipate this is a film with political, emotional and humanist points to make. Morgan is one of those films where once you’ve seen it –unless you become emotionally invested in a particular aspect – you won’t feel an urge to see it again.
However, certain scenes are particularly memorable. Paul Giamatti and Toby Jones work wonders with a sparse and predictable script in emotionally driven sequences, while British actor Rose Leslie opens a somewhat convincing part as maniacal behaviourist Dr. Amy Menser, only for her energy to dissipate as weak action sequences wash out an otherwise strong performance.
With the exception of the escalated ending and predictable twists, Morgan is well written, well cast and well thought out, but ultimately Luke Scott’s directorial debut doesn’t cut through the superficial sci-fi barrier, preferring to lean on good ideas over action, and still failing to execute those ideas to their full potential.
Morganis in cinemas now.
