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The story of M3GAN 2.0 sees brilliant roboticist Gemma (Allison Williams) having become a full-time anti-AI advocate, while her niece and ward Cady (Violet McGraw) has struggled to fit into the mold of “normal” life and make friends, after her experience with M3GAN in the first film. The girls’ lives take yet another turn after they are contacted by government officials, who reveal that a different killer android, AMELIA (Ivanna Sakhno), has popped up on the scene and is killing off anyone related to her creation, including Gemma. When that threat manifests, M3GAN (actress Amie Donald, voice of Jenna Davis) finally reveals herself again, having been lurking within Gemma’s smart home systems for two years. Gemma has to make the Faustian bargain of giving M3GAN a new body to help combat AMELIA, while praying her AI creation won’t turn on her and Cady a second time, after the job is done.

Director Gerard Johnstone returns to helm the sequel film, this time stepping up as the screenwriter as well, with the original film’s writer, Akela Cooper (Malignant), credited for helping craft the story. The difference is noticeable: Cooper’s story in the first film was focused on an intimate story about family dynamics and the modern challenges of parenting/working in the digital age. Johnstone approaches the sequel like he was more fascinated with all the memes and TikToks celebrating M3GAN’s iconography and attitude, and (wisely?) cranked up both aspects of the character in the sequel. Johnstone also, quite hilariously, layers an earnest story ruminating on society on the brink of an AI revolution โ and then piles a big heaping rip-off of James Cameron’s T2: Judgement Day on top of all that.
The result is a mishmash of style and tones that is laughably cringeworthy in the first act, with Allison Williams and Violet McGraw forced to spout empty platitudes about the dangers of technology, while doing a clunkier rehash of the strained mother-figure/daughter bond from the first film. There are also some baffling detours โ most notably Jemaine Clement’s character (a pioneering cybernetics mogul and parapelegic), who chews up significant early screentime with no real deeper point or purpose (beyond setup for a predictable third act spectacle).








