MORGAN

Even from that description alone, ‘Morgan’ sounds uncomfortably similar to ‘Ex Machina’, but while the film does suffer from inevitable comparison, it turns out to be an interesting film in its own right. While Garland’s film was more menacing and philosophical, Scott’s is more of a traditional thriller, executed with great confidence. Seth W. Owen’s screenplay is direct, economical and playful, taking the time to develop the relationships in the first act before jumping into the narrative twists and turns. ‘Morgan’ has many pleasant surprises, but ultimately it’s very straightforward, the kind of tech-based thrillers that popped up a lot in the 90s. The cinematography is slick and clever (peppered with clues for the big twist climax), the editing is sharp and the rhythms of the film carefully calibrate the tension. This is a machine built for thrills and entertainment with some musings on "what is human?" thrown in to add some flavour. Ultimately, it doesn’t offer very much to say on this, and the revelations in the climax make those questions moot, but Scott has wisely not overextended himself with his debut feature and the film is all the better for it, showing off his skills and perfecting the basics.

Much of the film rests on its ensemble, and Scott has gathered a surprisingly great one. Kate Mara further perfects her ability to play both disconnected and hypnotic, with Lee often the most fascinating character in the film and Mara's the most arresting performance. She’s cold and in charge of her emotions, a contrast to Morgan, young and impulsive. Anya Taylor-Joy is a great choice for Morgan, and is able to handle the turns in the character beautifully. She possesses an other-worldly quality, but not to the point of being distracting. They’re joined by Michelle Yeoh, Toby Jones, Boyd Holbrook, Rose Leslie, Vinette Robinson, Michael Yare and Chris Sullivan, all of whom deliver great performances and work beautifully together. There are also unexpected and maniacal appearances by Jennifer Jason Leigh and Paul Giamatti, whose scene with Taylor-Joy is the highlight of the film.

Ultimately, it’s difficult not to hold ‘Morgan’ up against ‘Ex Machina’, so numerous are its similarities. However, ‘Morgan’ is still has a lot going for it – it’s thrilling, entertaining, moves at a cracking pace and is bolstered by crisp direction and great performances. Still, it doesn’t leave any lasting impression and ends up being a mostly disposable piece of entertainment, but that isn’t ultimately a bad thing. Luke Scott has made a really solid, genuinely entertaining feature debut, and shown skills that he’ll hopefully have a chance to build on in the future. It’s just a pity this one was pipped at the post before it had even left the gate.