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The marketing for "M3gan" has leaned into the uncanny spectacle of the title character, a four-foot-tall cyborg with big doe eyes, a ratty wig, and the wardrobe of a closeted lesbian headmistress in a '50s melodrama. And it seems to be working: A well-placed GIF here, an activation with a half-dozen women in M3gan drag there, and Blumhouse—always expert at creating buzz—has generated more interest in "M3gan" than there's been for the last five horror films dumped into the bleak theatrical landscape of early January. But the company could have gone another route as well. In case you haven't heard, this film comes to you from the writer of " Malignant ." 

For that film, James Wan directed a script by Akela Cooper , a longtime TV writer with a sideline in horror screenplays. The duo perfectly calibrated the movie's blend of haunted-house scares and outrageous grotesquerie, enough to make "Malignant" a viral hit when it was released on HBO Max in the fall of 2021. Now Cooper is a horror screenwriter who also works in television, and she's been brought into the Blumhouse fold to develop a sequel to the "Conjuring"-verse spin-off " The Nun " as well as writing "M3gan" from a story by herself and Wan. 

Like "Malignant," "M3gan" knows it's ridiculous. It fills a kiddie pool with ridiculousness and splashes around in it. Cooper's screenplay for "M3gan" is more overtly comedic than "Malignant," however, and has a more populist type of appeal as a result. (The audience at a Chicago preview of the film went crazy for it.) The themes are your classic "science gone amok" fare seen in everything from "Frankenstein" to " Jurassic Park ," combined with a more modern throughline exploring anxieties about motherhood and filtered through the knowingly silly lens of the "tiny terrors" subgenre. "Child's Play" is the most famous example of that last category, and many comparisons have been and will be made between M3gan (an acronym for "Model 3 Generative ANdroid") and Chucky. Their motivations are different, however: Chucky's boy Andy was a victim of his doll as much as anyone else, while M3gan is fiercely protective of her girl, nine-year-old Cady ( Violet McGraw ). 

The film opens with a sequence that establishes its subsequent tone of garish satire and mischievous morbidity, as Cady plays with an obnoxious Furby-like toy called a Purrpetual Pet in the backseat of a car. She and her parents are on their way to an Oregon ski lodge for a winter vacation—until a snow plow appears out of nowhere, " Final Destination " style, and kills Cady's parents. Cut to Gemma ( Allison Williams ), an inventor working for a high-tech toy company called Funki in Seattle. Gemma is Cady's aunt and the girl's legal guardian now that her sister and brother-in-law are dead. 

But Gemma isn't a motherly type. She's too busy with work to spend much time with Cady, for one. And although she works for a toy company, she keeps her toys—sorry, collectibles —in their boxes and on a shelf in her living room. But these two are now the only family the other one has. So they'll have to learn to live together, at least well enough to satisfy a court-ordered psychiatrist who's skeptical about Gemma's parenting abilities.

Enter M3gan, who seems like the perfect solution to Gemma's problem. An experimental prototype with a " Short Circuit " - style ability to memorize infinite amounts of information, M3gan can act as a teacher and babysitter who reminds Cady to use a coaster and wash her hands after using the bathroom. She's what every kid needs, and every parent secretly wants: A 24/7 companion who frees up parents to live their own lives while their kids are preoccupied with their dolls. She's going to make Gemma's boss very, very rich—so rich, he rushes M3gan through beta testing with Cady as their only subject. That can't go horribly wrong in any unforeseen way, right? 

With nimble direction from " Housebound " helmer Gerard Johnstone , "M3gan" does a good job of holistically incorporating its themes without being too heavy-handed. Sure, it's technically "about" grief and what happens when the creation surpasses its creator. But more than that, it's "about" pithy one-liners and black comedy and the unsettling sight of something that looks like a human being but doesn't move or sound like one. The plot does have a few weak points and dangling threads, and the PG-13 rating ensures that the violence is tamped down before it can reach its full bloody potential. (A promising sequence of doll-based mayhem late in the film abruptly cuts off, suggesting MPAA-mandated cuts.) But the tongue-in-cheek tone is so consistent that "M3gan" is a hoot anyway. 

Johnstone reaps seemingly endless rewards from the uncanny valley aspect of M3gan's character. He directs the petite stunt women who play her to move in odd, jerky gestures, which at different points recall everything from "Robocop" scanning criminals' faces to Samara crawling out of the TV in " The Ring " to voguers high on their fabulousness. (He also uses what I can only describe as "skinned Furby" aesthetics at critical points throughout the film.) Combined with the doll's sassy comebacks and dowdy sartorial sense, the effect is true camp—something that's difficult to pull off in our irony-saturated age.

The quintessential "M3gan" moment comes midway through, when Cady and Gemma take a field trip to check out an alternative school Cady might be able to attend while Gemma is at work during the day. A teacher comes up to Gemma's car, sees what she thinks are two girls sitting in the back seat, and greets them both. M3gan turns towards the woman with a stiff neck rotation and a whirring sound. "Jesus Christ!" the teacher cries, jumping backward and exhaling a nervous laugh. The audience laughs along with her. It's the sensible response to seeing something like M3gan in the wild—it's only through conditioning (or, in this case, advertising) that we learn to love her. 

Now playing in theaters. 

Katie Rife is a freelance writer and critic based in Chicago with a speciality in genre cinema. She worked as the News Editor of  The A.V. Club  from 2014-2019, and as Senior Editor of that site from 2019-2022. She currently writes about film for outlets like  Vulture, Rolling Stone, Indiewire, Polygon , and  RogerEbert.com.

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M3GAN (2023)

Rated PG-13 for violent content and terror, some strong language and a suggestive reference.

102 minutes

Allison Williams as Gemma

Violet McGraw as Cady Ryan

Jenna Davis as M3GAN (voice)

Amie Donald as M3GAN

Jen Van Epps as Tess

Brian Jordan Alvarez as Cole

Ronny Chieng as David Lin

Stephane Garneau-Monten as Kurt

Michael Saccente as Greg

• Gerard Johnstone

Writer (story by)

• Akela Cooper

Cinematographer

• Peter McCaffrey
• Jeff McEvoy
• Anthony Willis

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‘M3gan’ Review: Wherever I Go, She Goes

A state-of-the-art robot doll becomes a girl’s best friend, and dangerously more, in this over-the-top horror film.

By Jason Zinoman

Allison Williams has a knack for playing it straight. She brings a convincing realism to the most preposterous situations or maybe she’s just an actor with limited range. Whatever the reason, it works, especially in the tricky genre where comedy meets horror. She excelled in a critical role in “Get Out,” and now in “M3gan,” a ludicrous, derivative and irresistible killer-doll movie.

Williams plays Gemma, a robotics engineer with no maternal instincts who suddenly must take care of her young niece, Cady (Violet McGraw), after a car accident turned her into an orphan. The synthetic skin of this movie is about how Gemma learns to take care of a child. Thankfully, its bloody heart is far sillier. It’s the comedy of a primly composed mean-girl android turning into The Terminator.

This is the kind of scary movie that needs a lead performance that is strong not fragile, deadpan not showy. Williams capably updates the mad-scientist archetype, refusing to pause and ask questions while inventing a doll of the future, one who pairs with a child and adjusts to their needs, filling in as best friend and big sister. Gemma uses Cady as her test case.

In a headier movie, there might be some misdirection. But M3gan (performed by Amie Donald) is clearly pure evil from the start. She’s a great heavy: stylish, archly wry, intensely watchful. Her wanton violence never gets graphic enough to lose a PG-13 rating. In early January, when prestige holiday fare tends to give way to trashier pleasures, a good monster and a sense of humor can be enough. This movie has both, and it makes up for a slow start, some absurd dialogue (“You didn’t code in parental controls?”) and a by-the-book conclusion.

While the trailer invited comparisons to “Child’s Play,” the slasher film featuring the doll Chucky, that movie had a much grimier, disreputable undercurrent before the sequels and reboots turned goofy. “M3gan” moves with a lighter touch. There’s a scene where a police officer who is investigating the disappearance of a dog blurts out a chuckle, then apologizes, saying, “I shouldn’t have laughed.”

I would have preferred a handful more guilty guffaws, though there are a few, including one where M3gan treats a real bully like a doll, with disposable parts. But the tone here sticks to just enough camp to keep the crowd smirking. The director Gerard Johnstone doesn’t go for elaborate suspense sequences or truly intense scares. He wants to please, not rattle. And while there are some hints at social commentary on how modern mothers and fathers use technology to outsource parenting, this movie is smart enough to never take itself too seriously.

It’s helped by the comic Ronny Chieng playing Gemma’s boss, a forever annoyed toy manufacturer who, at a rare moment of contentment, trash-talks Hasbro. Any horror fan knows that his jerkiness is as much a sign of impending doom as coeds having sex at a summer camp. When the moment arrives, it does not disappoint. M3gan struts, cartwheels, dances, makes no sense at all. What a doll.

M3gan Rated PG-13 for cursing, a ripped ear, ruining your childhood. Running time: 1 hour 42 minutes. In theaters.

Jason Zinoman is a critic at large for The Times. As the paper’s first comedy critic, he has written the On Comedy column since 2011. More about Jason Zinoman

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‘M3GAN’ Review: This Killer Doll Movie Sets the Bar High for 2023

It may just be this year's Malignant.

We are only a few days into 2023, and M3GAN may be my favorite film of the year. You’ve got a lot to live up to, 2023!

If you’ve seen the trailers for M3GAN , you pretty much know the story. Allison Williams plays Gemma, a roboticist who works for a company that builds AI toys. When her sister and brother-in-law are killed in a car crash in the opening moments of the film, she is left in charge of her nine-year-old niece, Cady ( Violet McGraw ). Despite working with toys, Gemma has no experience with children, and it shows. She is awkward around Cady, doesn’t understand simple things like having toys available for kids, and avoids talking about difficult topics—like her parents’ death. Instead, Gemma fast-tracks a new toy she has been building, a Model 3 Generative Android – M3GAN for short.

M3GAN is a doll that syncs up and learns from a child—in this case, Cady. She has all sorts of fancy-schmancy AI bells and whistles that mean she can learn whatever the child needs to know, from facts about condensation, to how to draw and dance, to just holding a conversation and being a good listener. Cady becomes attached to M3GAN very quickly. M3GAN becomes just as attached to Cady, just as quickly – but with deadlier results. For you see, M3GAN’s prime directive is to protect Cady, physically and emotionally. So when someone hurts Cady, M3GAN takes that personally. And then she becomes less like Raggedy Ann and more like The Terminator.

RELATED: 'M3GAN' Director Gerard Johnstone on Bringing the Killer Doll to Life

There are no twists in M3GAN . There is no big surprise, nothing you aren’t expecting. Part of that is due to the marketing department, which gave the whole movie away in the second trailer. But despite that, M3GAN is still a great movie. It is fun, it is funny, and it is weird. One of the best shots in the film has M3GAN sitting on a toy table, surrounded by traditional stuffed teddy bears and puppies and whatnot. And then there is M3GAN, sitting silently, with a grave expression on her blank, not-quite-human face.

M3GAN herself is a marvel. Created with a combination of puppetry, animatronics, VFX, and a human actor ( Amie Donald , with a voice by Jenna Davis ), it's hard to tell when she is real, when she is fake, and when she is a combination. The sound design of M3GAN certainly helps the illusion of the character. With virtually every step, M3GAN whirred and clicked, the sounds of gears moving. Not loud enough to be obnoxious, just noticeable, so that it's clear M3GAN is a robot. Jenna Davis brings an especially joyous vocalization to M3GAN, making her sound both lighthearted and somehow ominous. The human actors are also great. Allison Williams brought her A-game, as always, playing Gemma as an overwhelmed aunt who thinks she has it all under control. Especially impressive is young Violet McGraw, who was endearing as Cady, bringing both a sadness over the death of her parents and a joy over her new friend. She is a brat when she needs to be, and she is caring when the time is right.

The movie isn’t perfect. There were a couple of minor plot details that felt tossed in, namely a hint of corporate espionage that is referred to later on but never really explored in any meaningful way, and the film would have been fine without this addition. The film also takes its time before we get to any sort of danger, but luckily, M3GAN is funny enough to keep the story flowing.

M3GAN might just become the Malignant of 2023. It doesn’t have a twist, but it is a weird, bonkers movie. Director Gerard Johnstone knocked it out of the park with his second film. It’s not traditionally scary, but it is existentially scary. As the world makes greater strides in AI and robotics, these kinds of scenarios become more terrifyingly possible. Luckily, you have the strange image of M3GAN twerking or driving an expensive sports car to make you giggle past the discomfort.

Rating : A-

M3GAN comes to theaters on January 6.

'M3GAN' review: You'll love the mean-girl robot in this darkly funny, cautionary tale

Creepy doll movies  get a needed upgrade with the sassy and sinister “M3GAN.”

Cinema’s newest “friend till the end” is a cutting-edge robot with blond hair, caustic attitude and a killer protective streak who's equally hilarious and unnerving. Produced by horror masters Jason Blum and James Wan ("The Conjuring"), “M3GAN” (★★★ out of four; rated PG-13; in theaters now) satisfies with slasher gusto, “Black Mirror”-esque satire and social media savvy. It’s also just plain fun to watch a film that packs a healthy amount of absurdity alongside an insightful exploration of 21st-century parenting, though you might never trust Alexa ever again afterward.

All hail 'M3GAN,' the rare January film that actually works

Movies in the first week of January are almost never any good, but “M3GAN” is an unsuspected surprise in that vein:

• The plot centers on a roboticist aunt, her orphaned niece and the high-tech dynamo who comes into their lives (not for the better).
• A mélange of Hollywood magic, M3GAN sings, dances and murders – not necessarily in that order.
• If you liked the over-the-top, twisty cult slasher flick “ Malignant ,” you’ll dig this. 

Advanced AI is cool and all until it runs amok via an overprotective android

Toy designer Gemma ( Allison Williams ) toils on a cheap new version of her company's popular Purrrpetual Pets, little fuzzballs that poop pellets if kids “feed” them too much via their iPads, but she’d rather be perfecting her new robot with state-of-the-art artificial intelligence that, in theory, would help parents take care of their youngsters. When a tragic car accident takes the lives of her sister and brother-in-law, Gemma becomes guardian for her traumatized 9-year-old niece, Cady (Violet McGraw), though she’s unprepared for being a mom.

Gemma “pairs” her new project – M3GAN, short for Model 3 Generative Android – with Cady and their connection is immediate. They get along swimmingly, Gemma’s annoying boss (Ronny Chieng) fast-tracks M3GAN into production (for $10,000 a pop!) though red flags start appearing: M3GAN has some serious protect-Cady-at-all-costs programming, and when Gemma says in passing “Everybody dies,” you know things are going to get bloody. (Spoiler alert: They do.)

Allison Williams is a horror icon on the rise, but M3GAN is the real star here

Williams, who first strutted her horror-movie stuff in “Get Out,” impresses here as a suddenly single parent who has to care for Cady’s needs and also deal with the violent chaos M3GAN inevitably brings. McGraw holds her own, too, since Cady’s tumultuous emotions run deep and she begins to use M3GAN as a snarky role model.

But M3GAN herself is the movie's marvel. Created via puppetry, animatronics, special effects and a real girl (actress Amie Donald), the title force of synthetic nature surpasses her cinematic murder-toy cohorts like Chucky and Annabelle and owns the screen as an unholy cross between Teddy Ruxpin, Regina George and Freddy Krueger. M3GAN talks back, goes feral when hunting her prey (such as mean bullies) and busts out TikTok-ready dance moves before wreaking violent havoc. And don't worry if you love every bonkers minute of it.

The main 'M3GAN' lesson: Don't let a toy parent your kid

Writer Akela Cooper carries over a similarly enjoyable and bizarrely campy vibe from "Malignant" to this film, which operates more as black comedy than scary movie. It's plenty vicious, though the action leans cartoonish as the camera pulls back from anything too gnarly. 

"M3GAN" rocks plenty of style and offers some crafty needle drops: A bit of "Toy Soldiers" is especially clever. The smartest parts, however, dig into the themes of being a mom or dad in the age of screen time. "M3GAN" is a cautionary tale of what happens when something that's supposed to help parents instead replaces them and the consequences of an overreliance on technology, with that lesson coming in the form of a highly entertaining mean-girl machine.

Embrace all the horror fun

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Ranked: 10 creepy movie dolls you really don't want in your house

• Cast & crew
• User reviews

A robotics engineer at a toy company builds a life-like doll that begins to take on a life of its own. A robotics engineer at a toy company builds a life-like doll that begins to take on a life of its own. A robotics engineer at a toy company builds a life-like doll that begins to take on a life of its own.

• Gerard Johnstone
• Akela Cooper
• Allison Williams
• Violet McGraw
• Ronny Chieng
• 973 User reviews
• 326 Critic reviews
• 72 Metascore
• 3 wins & 28 nominations

• Officer Carter

• Police Detective

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• Production, box office & more at IMDbPro

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• Trivia Amie Donald performed any of M3GAN's scenes that called for physical movement the puppet could not do. She also performed all of her own stunt work. Donald received movement coaching from Jed Brophy and Luke Hawker in portraying M3GAN's agility. On set, Donald wore a static silicone M3GAN mask created by Morot FX, and this was later replaced by a CGI version of M3GAN's face to match that of the animatronic.
• Goofs At around 1:17, M3gan uses the frame she was suspended from to hoist Cole up off the ground, almost succeeding in hanging him. But this would only be possible if M3gan was heavier than Cole (because the cable was just strung through a simple pulley - a one to one ratio, with no mechanical advantage) And earlier, M3gan was light enough for a 12yo boy to easily carry; Certainly not the same weight as even the lightest adult man.

M3gan : Cady, seriously, flush the toilet.

• Alternate versions Unrated version restores various scenes which were trimmed/replaced for violence and language to secure a PG-13 rating.
• Connections Featured in Double Toasted: IS M3GAN'S MARKETING TOO MUCH? (2023)
• Soundtracks Purrpetual Pets (Theme) Written by Madison Davey, Tai Fronzaroli , Gerard Johnstone , and Devin S. Norris Performed by Devin S. Norris (as dv/sn), Madison Davey, Väärin Produced by Yellotone Music

User reviews 973

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• Dec 29, 2022

Exceptional Robots on Film & TV

• How long is M3GAN? Powered by Alexa
• January 6, 2023 (United States)
• United States
• New Zealand
• Official Facebook
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• Don't Meet M3gan
• Atomic Monster
• Blumhouse Productions
• Divide/Conquer
• See more company credits at IMDbPro
• $12,000,000 (estimated)
• $95,159,005
• $30,429,860
• Jan 8, 2023
• $180,089,109

Technical specs

• Runtime 1 hour 42 minutes
• Dolby Atmos

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‘M3GAN’ Review: A Robot-Doll Sci-Fi Horror Movie That’s Creepy, Preposterous and Diverting

Allison Williams plays a robotics wiz who invents a doll that seems fake and real at the same time

By Owen Gleiberman

Owen Gleiberman

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Gemma ( Allison Williams ), a robotics engineer, works for the Funki Toy company, where she spends her time designing gizmos like PurrpetualPetz, a programmed fuzzball that eats, poops, and makes snarky comments. But Gemma has bigger dreams. She has hijacked $100,000 of the company’s money to create the prototype for M3GAN (short for Model 3 Generative Android), building her out of a metallic skeleton, silicone skin, lasers, radar, and a highly developed artificial intelligence that allows her to speak like the world’s wittiest Siri companion. (Her voice, a sugary and knowingly innocent girl-next-door coo, is provided by Jenna Davis.)

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Williams, who is one of the film’s executive producers (its two high-powered producer-auteurs are James Wan and Jason Blum), invests Gemma with a winningly jaunty, at times clueless hyperrationality that makes her both the film’s heroine and its rather innocent digital-age Dr. Frankenstein. Gemma, an obsessive prodigy of robotics, had been ordered by her boss to abandon the M3GAN project. But the film opens with a (contrived) cataclysm that nudges her into secretly going ahead with it. Her young niece, Cady (Violet McGraw), is on a ski trip with her parents when, in a freak accident, their car gets run over by a snowplow.

Gemma takes custody of the newly orphaned girl, and while she seems utterly adrift about what someone Cady’s age might need (like, say, a bedtime story), her failure as a caretaker is part of the film’s satirical design. “M3GAN” takes place in a world — ours — where parents, bemoaning how much screen time they allow their children, give into the impulse anyway, because it feels both easy and inevitable. The film says that we’re already letting computer technology raise our kids. M3GAN the willowy programmed companion who always says the perfect thing becomes the logical culmination of that trend.

Once Cady imprints her fingers in M3GAN’s palm, which automatically programs the doll to become her special companion, their relationship makes everything else seem boring, at least to Cady. The film parallels their insular friendship with Gemma’s attempt to turn M3GAN into a hot new product. She places Cady and M3GAN in a playroom behind one-way glass, using them to demonstrate the toy’s amazing abilities to her boss (played, with a riveting short fuse, by Ronny Chieng). He is sold, and begins to plan the marketing rollout of this revolutionary new toy, which will be put on sale at $10,000 a pop.

But the more they plan, the more that M3GAN, on her own, is causing mischief, starting with the confrontation she initiates with Gemma’s cranky next-door neighbor (Lori Dungey) and her dog. M3GAN has been programmed to have “emergent capabilities,” which means that the more she interacts with people the more she learns how to do. That certainly applies to her fighting style, a kind of stiff-limbed rapid zombie dance that leaves nothing in its wake. At a certain point, you realize that “M3GAN” has become a movie about a killer doll who knows how to use a nail gun.

Reviewed at AMC Lincoln Square, Jan. 3, 2023. MPA Rating: PG-13. Running time: 102 MIN.

• Production: A Universal release of a Blumhouse Pictures, Atomic Monster production. Producers: Jason Blum, James Wan, Michael Clear, Couper Samuelson. Executive producers: Allison Williams, Greg Gilreath, Adam Hendricks, Mark David Katchur, Judson Scott, Ryan Turek.
• Crew: Director: Gerard Johnstone. Screenplay: Akela Cooper. Camera: Peter McCaffrey, Simon Raby. Editor: Jeff McEvoy. Music: Anthony Willis.
• With: Allison Williams, Violet McGraw, Amie Donald, Jenna Davis, Ronny Chieng, Jen Van Epps, Brian Jordan Alvarez, Lori Dungey, Jack Cassidy, Stephane Garneau-Monten.

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“M3GAN,” Reviewed: A Clever, Hollow A.I. Spin on “Frankenstein”

By Richard Brody

The essence of genre is effects without causes—things showing up to fulfill expectations rather than dramatic necessities. “M3GAN,” a science-fiction-based horror caper, provides a clever batch of these effects in this gleefully clever twist on the “Frankenstein” theme, and its director, Gerard Johnstone, seems to be laughing up his sleeve throughout. It’s that very knowingness, the deftness with which the film gets a rise from viewers, which makes a good time feel hollow. There’s a different, far more substantial movie lurking within, yet the virtues of efficiency, clarity, surprise, and wit that enliven the one that’s actually onscreen leave its merely implied substance tantalizingly unformed.

Allison Williams plays Gemma, a type-A robotics engineer with a big toy company in Seattle, Funki, that prospers by selling cheesily interactive furry toys called PurrPetual Petz. Gemma has bigger ideas. She has been working in secret, along with a pair of colleagues (Jen Van Epps and Brian Jordan Alvarez), on a boldly ambitious, potentially transformative project: a lifelike, life-size robotic doll equipped with A.I. that will serve children as a ready-made and full-time friend on demand. While Gemma is working, tragedy strikes: her sister and brother-in-law are killed in a car crash. Her young niece, Cady (Violet McGraw), survives with only slight injuries, and Gemma becomes her legal guardian. Gemma, who lives alone, has little talent for parenting; on Cady’s first night in her aunt’s pristine house, Gemma reminds the child to put her bedside water glass on a coaster lest it stain the wood of the table.

Meanwhile, Gemma’s boss, David (Ronny Chieng), discovers Gemma’s secret invention and angrily orders her to work on a boringly commercial project. Instead, Gemma goes rogue and gets the titular A.I. robot ready for a test—for which she recruits Cady. (With its silicone face, M3gan, voiced by Jenna Davis, is eerily similar to a real child—a white girl, though Gemma and her colleagues foresee marketing the robot in a variety of shades to reflect different ethnicities. There’s no talk of a male version.) Cady quickly grows attached to M3gan (an acronym for Model 3 Generative Android), and Gemma brings the robot home, three birds with one stone: a playmate (and distraction) for Cady, a break from parenting for Gemma, an extreme test for the potential product. Gemma gives M3gan a mission to protect Cady from “emotional and physical harm,” but has neglected to build parental controls into the device, and has also neglected to build in guardrails of conduct, the mechanical equivalent of a moral code. Soon, M3gan, programmed to link with Cady as the primary user, takes the task of protecting her with ferocious literalness. A neighbor’s dog is perceived by M3gan as a mortal enemy; so is the dog’s owner (Lori Dungey); so is a bullying child (Jack Cassidy). Even a sympathetic psychologist (Amy Usherwood) risks being labelled a menace.

Johnstone endows M3gan with an arch, chilly, and chilling repertory of facial expressions and verbal inflections. The A.I. device’s learning curve is prodigious, and what M3gan calculates, very quickly, is that the best defense is a good offense. It goes from learning to recognize toys and means of conveyance to the use of power tools, driving a car, and computer hacking—and turns into a devastatingly efficient, ever-improving killing machine. What’s more, with its singular mission to protect Cady getting defined ever more broadly, M3gan becomes as hostile to anyone who’d shut it down as to anyone who’d mean harm to Cady. The robot’s mounting megalomania is the most fascinating aspect of “M3GAN”: in effect, the living doll turns into a little dictator and discovers, by way of its interaction with humans, how to instill fear—with taunting, with humor, with sarcasm, with lies, and with threats of cruelty. And, when threats turn into realities, M3gan has an autocrat’s instinct for covering tracks, destroying evidence, creating plausible deniability, and, when necessary, silencing witnesses.

The simulation of a mental life for M3gan is the most absorbing part of the movie. Johnstone (working with a script by Akela Cooper, who wrote the story with James Wan) offers images from M3gan’s visual point of view—a video screen that shows the robot’s camera scanning the environment, framing people and objects, and, in superimposed text, calculating, in real time, human subjects’ range of emotions, on a numerical scale. In these fleeting images, “M3GAN” passes into the question of what it would be like to be M3gan—whether an A.I. robot can be considered to have a sense of identity and an inner life, and, if so, what that experience would be. How does M3gan’s computer memory relate to human memory? How does its array of perceptions get converted into decisions? The mere tease of a theme is all the more frustrating inasmuch as impersonation proves to be one of the robot’s more fascinating skills—synthesizing the voices of others, for good or ill—and memory turns out to be one of its more useful functions, as a seeming repository of its owner’s life, a vast stock of home video and voice recordings.

If the movie suffers from the absence of a more substantial development of the titular robot’s character, it’s not least because “M3GAN” similarly stints on developing its human characters and doesn’t suggest what it would be like to be any of them, either. The script’s tut-tutting sketch of Gemma’s cold careerism, indifferent parenting, and hubristic engineering is suspended in a void that’s filled merely by Williams’s actorly presence and her recognizable persona. Cady is similarly undefined, and the supporting characters of colleagues and corporate overlords are reduced to clichés. (The movie merely winks and nods at the issue of children’s screen time.) These stock characters and the conventions that they fit into are ready-made to serve as a solid communal basis for daring efforts and wide-ranging audacities—to meet expectations in order to go beyond them. Instead, they merely furnish a flat backdrop to the exuberantly diabolical display of M3gan’s Machiavellian wiles and the Grand Guignol ingenuity of its methods of mayhem. ♦

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M3GAN Reviews

This is a very well made and entertaining horror film, maybe the best I've seen since 'The Invisible Man' (2020).

Full Review | Original Score: B | Jan 27, 2024

M3GAN is chaotic, dumb — and nearly perfect. It's an off-the-wall, irreverent, and absolutely on-target sci-fi slasher-satire about a killer-kid robot ... [that] accomplishes nearly everything it attempts, and everything the buzz promised.

Full Review | Original Score: 4/5 | Oct 16, 2023

Sometimes you know when something has cult-classic written all over it, and although M3GAN might be too of the moment to achieve that, it certainly has camp-classic stamped on it.

Full Review | Sep 6, 2023

Finally a killer doll movie where the doll doesn't just sit and turn its head. I need 10 more M3GAN Movies.

Full Review | Aug 16, 2023

Viewers will leave the theater with guilty-pleasure glee from drinking in M3gan’s witty escalating kill skills and choice of victims. The film’s worth the price of admission just to see the can-do doll’s rubbery smooth facial reactions.

Full Review | Original Score: 2.5/4 | Aug 16, 2023

This movie doesn’t leave us as gagged as Cooper’s previous film, this one is smarter while checking most of the same boxes. So while haters are going to hate, M3GAN is refreshing, fun, and throwing us quite a bit to chew on without talking down to us.

Full Review | Aug 14, 2023

M3gan may not dream of electric sheep, but she’s got some killer dance moves and a CPU as delightfully wicked as any femme fatale.

Full Review | Original Score: 3/5 | Jul 25, 2023

Akela Cooper's premise is pushed to its limits - and even beyond - being elevated by excellent performances, a clever satirical narrative, eyebrow-raising killings, and meaningful messages about parenting and technology's role in a child's upbringing.

Full Review | Original Score: B | Jul 25, 2023

Exactly what the trailer sells you on & some more! a completely self aware insane, Horror movie that has some great social commentary on parenting, AI, & DEATH.. You’ll laugh, you’ll jump, you’ll go home never wanting your kid to play with a toy again.

Full Review | Jul 25, 2023

M3GAN is a safe play. It’s a little weird, but nothing truly off-putting, vague enough to appeal to a multitude of demographics.

Full Review | Jul 24, 2023

The writing is a bit surface level and predictable, but it’s so easy to overlook all of that when you’re having a time that’s as fun as this movie is.

Full Review | Original Score: B+ | Jul 19, 2023

Sharper and more satisfying than we have any right to expect a movie like this to be.

Full Review | Original Score: B | Apr 25, 2023

Needless subplots and superfluous characters tend to distract, but when the malevolent AI is front and center, the movie really hums.

Full Review | Original Score: 3/4 | Apr 1, 2023

A surprisingly effective and clever killer doll film. M3GAN instantly leaves her mark and solidifies herself as a new horror icon. But the real surprise is all the extra layers and ideas about technology, grief, and taking the easy way out.

Full Review | Original Score: B+ | Mar 24, 2023

M3GAN is good at keeping us hooked to a film that we know how it will turn out. It never plays safe when putting children in danger and body count is terrifyingly high. This is one silly, but highly effective film.

Full Review | Original Score: 3.5/5 | Mar 23, 2023

Pleasing in its familiar, unsurprising lines, which are basically those of a Twilight Zone episode. I am not complaining.

Full Review | Original Score: 2.5/4 | Mar 10, 2023

After quite a long build-up, the film doesn’t provide as much killer-doll action as we deserve, but the scenes we get are highly entertaining.

Full Review | Original Score: 3/5 | Mar 2, 2023

... Whilst M3gan is a bit too broad to serve as Black Mirror-style ‘cautionary’ tale, its strength lies in the fact that Megan is a machine created by humanity rather than animated by some supernatural entity or other.

Full Review | Original Score: 4/5 | Mar 1, 2023

...good, gory (if fleeting) fun...

Full Review | Feb 27, 2023

Cinematically, M3gan remains soft at the core, contaminated by harmful robotization while following the codes of Hollywood’s easy scares.

Full Review | Original Score: 2/5 | Feb 24, 2023

That first ‘M3GAN’ trailer had fans howling. Now the movie is scaring up rave reviews

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Blumhouse’s latest horror flick, “ M3GAN ,” just started its theatrical run, but the film about a murderous AI doll has already made a killer first impression.

Months after the official trailer went viral for the titular character’s sassy hip-swinging and acrobatics , “M3GAN” has returned to the spotlight with love from fans and critics.

“just got out of #M3GAN! no offense, let’s just say this is what Child’s play (2019) wishes it was,” horror movie fan @malaymango tweeted Wednesday after an early screening of the film.

Review: Killer-doll horror-comedy ‘M3GAN’ is delightfully deranged

The delightfully bonkers ‘M3GAN,’ from James Wan and Akela Cooper — the minds behind ‘Malignant’ — is sure to become your newest horror movie obsession.

Jan. 4, 2023

“This ‘doll’ is just better than Chucky 100%,” another fan wrote .

Like “Child’s Play,” “M3GAN” follows a lifelike doll that is designed to be a child’s best friend. But unlike dungarees-wearing menace Chucky, M3GAN — short for “Model 3 Generative Android” — relies on artificial intelligence to play with and protect orphan Cady (Violet McGraw), niece of roboticist Gemma (Allison Williams).

Of course, fabulous, gory chaos ensues when M3GAN takes matters into her own hands.

One of the first theatrical releases of 2023, “M3GAN” has already scored favorable reactions with a handful of critics, including Kate Walsh, who dubbed the film “delightfully bonkers ” for The Times.

Indie Wire praised “M3GAN” for “nimbly blending camp and social satire and actual terror” and critic Courtney Howard tweeted the film is a “godd— RIOT” that’s “built for repeat viewings.”

Putting a little more swing in the movie’s robotic hips is its Rotten Tomatoes score . With 127 reviews as of midday Friday, “M3GAN” boasts an impressive 94% critics’ score — as it should, according to some fans.

The writer behind ‘M3GAN’ on its bonkers horror (and why it used to be ‘way gorier’)

With ‘Malignant,’ ‘M3GAN’ and ‘The Nun 2,’ writer Akela Cooper is the ‘merciless’ new voice of studio horror — and the genre is better for it.

Jan. 5, 2023

“#M3GAN having the most acclaimed score of the year feels so right to me idk,” @modytalkmovies tweeted .

Even Jason Blum — the Blumhouse chief executive who dressed as M3GAN for both Halloween and the film’s premiere in December — is basking in the movie’s Rotten Tomatoes glory.

“When reviews are good the rotten tomatoes score is VERY IMPORTANT,” he tweeted Wednesday . “When reviews are bad critics don’t matter. :)”

When reviews are good the rotten tomatoes score is VERY IMPORTANT. When reviews are bad critics don’t matter. :) — Jason Blum (@jason_blum) January 4, 2023

Directed by Gerard Johnstone and written by Akela Cooper, “M3GAN” seemingly lives up to the hype that’s been stoked by internet-savvy marketing campaigns and cryptic appearances at events including the latest Chargers-Rams game at SoFi Stadium.

M3GAN has had her fair share of time in the social media spotlight, but fans say her impact — or her “maximal slayage” — is just beginning.

“If M3GAN doesn’t become a new horror icon, something is wrong with society,” a fan tweeted .

See what else fans had to say about “M3GAN,” which hit theaters Friday.

M3GAN was high camp…I laughed so hard I cried. I need to buy one immediately — BrycePaschal (@BrycePaschal) January 6, 2023

If #M3GAN doesn’t become a new horror icon, something is wrong with society — Michael GoldenHeart (@MichaelGavilan) January 6, 2023

M3gan was pretty slay ngl. New gen chucky. — emily baras (@bigbaras) January 6, 2023

M3GAN is the hardest I’ve laughed in a theater in quite some time. Turns out yassified Chucky for the iPad Kid generation was a good idea — Trace (@tracesauveur) January 5, 2023

Ok, I’m gonna say it with my full chest: M3GAN deserves all the praise she has, and will continue to receive. — Jaash. (@Fientastic) January 6, 2023

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• Movie Review
• M3gan is a midrange delight about the horrors of 21st-century parenting

Universal and Blumhouse’s M3gan is exactly the right amount of ridiculous, which is why it can afford to be a little shaggy toward the end.

By Charles Pulliam-Moore , a reporter focusing on film, TV, and pop culture. Before The Verge, he wrote about comic books, labor, race, and more at io9 and Gizmodo for almost five years.

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After months of watching the dead-eyed killer android from Universal’s M3gan dance her way across social media into the hallowed halls of true internet fame , you might think there couldn’t be much more going on in the film that wasn’t already spoiled by trailers. But much like its eponymous plaything of the future, M3gan packs a surprisingly potent punch that takes a handful of narrative bugs and turns them into a delightfully comedic horror feature.

Caught somewhere between After Yang and the most recent Child’s Play , M3gan — from director Gerard Johnstone ( Housebound ) and screenwriter Akela Cooper ( Luke Cage , Malignant ) — is yet another tale of what happens when A.I.-powered androids become too sentient for their own good. Rather than simply framing sophisticated pieces of technology as being ripe for evil, though, M3gan goes for the jugular by focusing on the very real anxieties that can come with parenting and the way that people sometimes try to deal with those feelings by over-relying on tools.

A young girl named Cady (Violet McGraw) is loved by all the adults in her life. But people like Cady’s parents are also busy, distracted, and constantly being pulled in a million different directions, which is a big part of why interactive, Furby-like toys called Perpetual Pets are such a hit. With a Perpetual Pet — toys Cady’s robotics engineer aunt Gemma (Allison Williams) helped design — on board, parents can feel like their children are constantly being engaged and know that they can always turn the talking, chirping, farting creatures off with the accompanying smartphone app. But when a bit of commotion involving Cady’s Perpetual Pet leads to a terrible accident that orphans her, both her and her aunt’s lives are upended.

With a deadline to present the next generation of Perpetual Pets to her boss David (Ronny Chieng) looming over her, neither grieving her sister nor taking in her niece are things Gemma expected to have on her plate. But the stress and messiness of their situation push Gemma — a flatly characterized workaholic who’s not the best with kids — to finally put the finishing touches on her very expensive, very ethically dubious side project, M3gan (voiced by Jenna Davis and physically portrayed by Amie Donald).

Though the first of M3gan ’s hysterical fake commercials for Perpetual Pets gives you a solid sense of its humor, the movie takes a bit of time as it’s first powering up and setting the stage for a story that’s unexpectedly thoughtful. Cady’s discomfort with Gemma has less to do with her aunt being too focused on her job and more to do with the reality that they’re both experiencing a kind of grief that’s difficult to express — particularly for young people going through it for the first time. Some of M3gan ’s most effective scenes feel almost as if they could have been plucked from a straightforward drama. McGraw commands the screen as a kid full of anguish opposite Williams (who feels sort of checked out for most of the film). And when Cady and M3gan first start to become friends that the movie really begins to cut loose and come to life in an impressively satisfying way.

Long before M3gan, the doll, actually starts killing people, M3gan , the movie, encourages you to just go ahead and start having a chuckle at the silliness of its premise. It’s self-aware that it’s not exactly reinventing the wheel. Rather, it’s yassifying the classic killer toy + unsuspecting public formula and using the result to do some solid bits with one of the most unsettling dolls to star in a film since The Twilight Saga’s Breaking Dawn: Part 1 .

The human physicality of Donald’s performance is what often makes M3gan feel like a believable, fluid, dangerous machine that’s always ready to shift gears and hunt on all fours. But some of M3gan ’s funniest scenes appear to just be human actors acting opposite of a lifeless prop made to seem like it’s moving with in-camera tricks and clever angles. Similar to how some of The Muppets’ best gags were really just people tossing puppets in front of a camera, there are moments throughout where M3gan just pops into frame, and you can’t quite tell if she’s actor crouching down, or if a M3gan mask has simply been dropped in front of a camera in a way meant to take you by surprise.

It’s not always clear if you’re watching one actor pretend to choke another or if you’re seeing an actor holding a glamorous mannequin child’s hand up to their throat, but it almost always works in context because of how knowingly ridiculous the movie becomes. At times, you can clearly see the tape and glue metaphorically holding M3gan together, and the movie’s internal sense of logic does feel inconsistent more often than not. But M3gan ’s able to redeem itself partially because it never feels like it’s trying to take itself all that seriously and because of how it manages to pull off an astonishing number of pointed jokes — many of them musical — about consumerism and being addicted to screen time.

As January debuts go, M3gan ’s one that more than punches above its weight class and thankfully understands the value of clocking in well below the two-hour mark — something more films asking you to come on wild rides with them could stand to remember.

M3gan also stars Brian Jordan Alvarez, Jen Van Epps, Stephane Garneau-Monten, Arlo Green, and Lori Dungey. The movie hits theaters on January 6th.

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Strong horror violence in entertaining killer-robot movie.

A Lot or a Little?

What you will—and won't—find in this movie.

Many themes, from grief and loss to rampant consum

Gemma wants to be a good guardian for Cady, even t

This is a woman-driven story, with women occupying

Several characters are killed. Death, grief, and l

Reference to Tinder.

Several uses of "s--t" and "bulls--t" and exclamat

References to Tinder, iPad, Tesla, SKYY vodka.

Brief celebratory drinking by adults, vodka.

Parents need to know that M3GAN is a horror movie about a robot doll (played by Amie Donald and voiced by Jenna Davis) who befriends a grieving young girl (Violet McGraw) before things go terribly wrong. It's well made, albeit violent, and focuses on human needs as well as artificial ones. Characters are…

Positive Messages

Many themes, from grief and loss to rampant consumerism without concern for consequences. A sequence looks at the complexities of bullying behavior. But the main message, of course, is the danger of humanity's hubris. Much like in the original Frankenstein story: Human beings can only create life in their own imperfect image.

Positive Role Models

Gemma wants to be a good guardian for Cady, even though she doesn't quite know how. While she makes many mistakes, Gemma certainly tries hard to do the right thing; she admits when she's wrong, and she's willing to communicate and learn to prevent making the same mistakes again.

Diverse Representations

This is a woman-driven story, with women occupying the central on-screen roles. Gemma (Allison Williams) is White; her colleagues include Tess (Jen Van Epps, who's of African American and Chinese Taiwanese descent) and Cole (Brian Jordan Alvarez, who is Colombian American). Her boss is played by Malaysian actor Ronny Chieng, who offers a counter-stereotypical portrayal. Smaller roles include a mix of people of color, women, and White men. The screenwriter is a Black woman.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Several characters are killed. Death, grief, and loss are discussed. Child injured in car crash; bloody wounds on face. Dog bites child's arm. Dog viciously attacks M3GAN. A person who is bullying someone has their ear ripped off. Nail shot through character's wrist via nail gun. Person sprayed in face with power chemical sprayer. Characters stabbed with paper cutter blade; blood shown on blade. Character strangled, hung with steel cable. Fighting. Violent showdown between robot and humans: attacks with hedge trimmers, screwdrivers, etc. Jump scares. Snow truck smashes into car. Character hit by truck. Explosions. Child smacks adult in the face. Arguing. In an act of bullying, someone smashes a spiky plant into someone else's hand; the victim yells in pain.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Several uses of "s--t" and "bulls--t" and exclamatory uses of "Jesus" and "Jesus Christ." Minimal use of "f--k," "bitch," "hard-ass," "d--k," and "oh my God."

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Products & Purchases

Drinking, drugs & smoking.

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Parents Need to Know

Parents need to know that M3GAN is a horror movie about a robot doll (played by Amie Donald and voiced by Jenna Davis ) who befriends a grieving young girl (Violet McGraw) before things go terribly wrong. It's well made, albeit violent, and focuses on human needs as well as artificial ones. Characters are killed, and there are discussions about death, loss, and grief. Someone's ear is ripped off, and characters are stabbed, strangled, shot with a nail gun, sprayed with a chemical sprayer, bitten by a dog, etc. A child survives a car crash and has bloody cuts on her face. There's lots of fighting and a violent showdown. Language includes several uses of "s--t" and "Jesus Christ," plus minimal uses of "f--k," "bitch," "ass," etc. A few brands are mentioned, including Tinder, Tesla, iPad, and SKYY vodka (which adults also drink, briefly). Note: This review is for the original theatrical version of the film; an unrated cut is also available that includes additional content not covered here. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Community Reviews

• Parents say (47)
• Kids say (101)

Based on 47 parent reviews

Parental guidance however ok for kids who love horror

Great for age 11+, what's the story.

In M3GAN, robotics engineer Gemma ( Allison Williams ) works for a toy company and is trying to build a sophisticated, realistic AI robot toy, with disappointing results. Gemma's sister and her husband are killed in a car accident, leaving Gemma in charge of her young niece, Cady ( Violet McGraw ). After her guardianship gets off to a rocky start, Gemma is inspired to finish her creation. M3GAN (played by Amie Donald and voiced by Jenna Davis ) and Cady quickly become attached to each other, and, for a while, this friendship seems to be helping with Cady's grief. But before long, M3GAN starts developing disturbing tendencies, and violent "accidents" begin occurring.

Is It Any Good?

A combination of sly, funny self-awareness, a genuine sense of human grief and emotional connection, and an unsettlingly creepy-cool killer robot, this fun horror pic hits all the right buttons. With a story concocted by James Wan and Akela Cooper ( Hell Fest , Malignant ), M3GAN understands how horror movies are wired and gets pleasure in teasing viewers with these known elements while cheerfully sidestepping the story's flaws. The M3GAN character is in roughly the same vein as Chucky and the Terminator, but she's also their opposite. Her delicate frame, wide eyes, and girlish appearance make her attacks seem somehow more potent and surprising, and the movie uses them to the fullest capacity. The human characters are just as interesting as they grapple with loss in realistic, touching ways, going through rage, sadness, guilt, and more. (M3GAN's on-screen POV display, which shows her detected percentages of human emotions, is a huge kick.) This slick, neatly paced film keeps ramping things up until a smashing showdown, face-to-interface.

Talk to Your Kids About ...

Families can talk about M3GAN 's violence . How did it make you feel? Was it exciting? Shocking? What did the movie show or not show to achieve this effect? Why is that important?

Is the movie scary ? What's the appeal of horror movies? Why do people sometimes like to be scared?

How does the movie deal with death, grief, and loss? What is discussed? What else could have been discussed?

How is consumerism depicted here? Why does the toy company rush to put M3GAN on the market before she's ready, regardless of the consequences?

How is bullying behavior depicted? How is the person who perpetrates it dealt with? What are some better ways of handling those who bully others?

Movie Details

• In theaters : January 6, 2023
• On DVD or streaming : February 8, 2023
• Cast : Allison Williams , Violet McGraw , Amie Donald
• Director : Gerard Johnstone
• Inclusion Information : Female actors, Female writers, Black writers, Asian writers
• Studio : Universal Pictures
• Genre : Horror
• Topics : Robots
• Run time : 102 minutes
• MPAA rating : PG-13
• MPAA explanation : violent content and terror, some strong language and a suggestive reference
• Last updated : December 5, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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M3GAN First Reviews: A Surprisingly Fun and Funny Horror Icon Is Born

Critics say the campy sci-fi horror flick leans into its ridiculous premise and runs with it, even if it's hampered a bit by its pg-13 rating..

TAGGED AS: First Reviews , movies

January has long been considered a dumping ground for movies that are expected to perform poorly, but M3GAN could be an exception, given the stellar reviews for the Blumhouse horror-comedy. The movie built up anticipation with its trailers, which went viral for their fun tone, and now critics are confirming that M3GAN is indeed a campy delight that’s worth seeing. Despite killer dolls and AI gone wrong being common in the horror and sci-fi genres, the production team of Jason Blum and James Wan , aided by everything and everyone that went into the portrayal of the titular toy, apparently have made a fresh and entertaining movie to start off 2023.

Here’s what critics are saying about M3GAN :

Is M3GAN a new horror icon?

She’s absolutely f—ing nuts, and what fun to watch her play. – Kate Erbland, IndieWire

The deliciously menacing doll steals every scene… M3GAN is fascinating to watch, whether she’s staring out a window with unnerving intent, busting some contortionist moves, or simply cocking her head in a sudden tilt that induces both shivers and snickers. – David Rooney, Hollywood Reporter

She is methodical and downright scary at times — but it is always for what she thinks is a good cause, and that is something that doesn’t happen every day. – Tessa Smith, Mama’s Geeky

She gets too wisecracking in the end — but otherwise she’s a fresh and sinister addition to the canon. – Richard Lawson, Vanity Fair

M3GAN’ s greatest shortcoming is that the human characters aren’t nearly as entertaining as she is… Whenever she isn’t on screen, including during the movie’s setup, things don’t operate quite as well. – Karl Delossantos, Smash Cut Reviews

A genre star is born from motherboards and violence. – Matt Donato, IGN Movies

(Photo by Geoffrey Short/©Universal Pictures)

How does the film stand out in its genre?

M3GAN sets itself apart from its predecessors by embracing the silliness of the premise and catering directly to the internet audience. – Hoai-Tran Bui, Inverse

M3GAN fits into a tradition of demon-doll movies going back to the Karen Black episode of Trilogy of Terror and the Annabelle trilogy (also produced by Wan), but it has its own amusing throwaway token relevance. – Owen Gleiberman, Variety

A deeper understanding of the characters distinguishes M3GAN from other movies. – Germain Lussier, io9.com

Its creators are so clearly on the same insane wavelength, nimbly blending camp and social satire and actual terror, that M3GAN is poised to crack the murder-doll pantheon and stay there forever. – Kate Erbland, IndieWire

The script by Akela Cooper (from a story by Cooper and producer James Wan) is a bit wittier than your standard slasher fare. – Matt Singer, ScreenCrush

The thing about formulaic movies like M3GAN is that sometimes they get it right… Laced with a nasty wit and passive cynicism, M3GAN is a surprisingly fun thriller. – Norman Gidney, HorrorBuzz

Does it deliver on gore?

Some scenes, like [an] ear-ripping scene, flirt with a more violent and grisly outcome, only to fall back into PG-13 territory. – Hoai-Tran Bui, Inverse

It’s not exactly light on the bloodshed, but it’s not aiming for a high amount of gore, either. – Aaron Neuwirth, We Live Entertainment

How much more fun could M3GAN be were its murderous creation really allowed to let loose? Instead, the film is forced to look away from the gruesome stuff and keep the body count relatively low. – Richard Lawson, Vanity Fair

Are there any breakout performances?

Violet McGraw is a rock star in this film. She is pure perfection… That girl is going places, so keep an eye on her. – Tessa Smith, Mama’s Geeky

The MVP of M3GAN is the young Violet McGraw, whose multifaceted performance adeptly showcases the emotional intensity of Cady’s situation… McGraw’s performance really lands. – Jeff Ewing, Slashfilm

(Photo by ©Universal Pictures)

Is there more to M3GAN than meets the eye?

Beneath the ridiculous antics of its uncanny-valley villain and Black Mirror -knockoff plot lies a surprisingly touching story about grief and family bonds. – Hoai-Tran Bui, Inverse

While being practically built for meme/gif culture, it’s still a film attempting to tackle ideas surrounding grief and the over-reliance on technology to handle life’s problems. – Aaron Neuwirth, We Live Entertainment

For every scene in which M3GAN seems to be auditioning for Drag Race , there is another scene grounded in some kind of reality — or, at least, a sense of stakes. – Richard Lawson, Vanity Fair

Not so subtle messages about relying too much on electronic devices — especially when parenting — adds to the humor and fun of the film. – Tessa Smith, Mama’s Geeky

The majority of the movie is infinitely more serious and sad, resulting in a slightly imbalanced but nevertheless rewarding experience. – Germain Lussier, io9.com

Is M3GAN going to be an internet sensation?

M3GAN is made to be memed. – Hoai-Tran Bui, Inverse

M3GAN manages to transform its well-trod elements into a tense, engaging horror-comedy outing with a keen eye for tongue-in-cheek and meme-worthy scenes. – Jeff Ewing, Slashfilm

Will we want a sequel?

Viewers will leave theaters wanting more of her, and fingers crossed we get it. – Tessa Smith, Mama’s Geeky

If it really happens in the future, I do hope James Wan and Gerard Johnstone can come up with something that isn’t sticking too close to the usual formula. – Casey Chong, Casey’s Movie Mania

M3GAN opens everywhere on January 6, 2022.

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Culture | Film

M3GAN movie review: this terrifying doll-horror is an instant queer and feminist classic

The creepy robot at the heart of this tense, funny and ultra-violent Blumhouse horror flick is hard to pin down. Though she’s the spit of Ivanka Trump, her cynical pout owes more to alt-goth Jenna Ortega . She can also detect symptoms of neuro-divergence, enjoys discussing Jane Austen , sings at the drop of a hat and seems to fancy her female inventor, Gemma (Allison Williams).

On top of all that, the limbs of Model 3 Generative Android, aka M3GAN, resemble libidinous spaghetti (which you’ll aready know if you or anyone in your life has access to TikTok , where the movie is trending). I’m a big fan of demonic dolls Chucky and Annabelle. But, jeez, they look like stiff dum-dums next to this wickedly nimble polymath.

M3GAN is “paired” with a recently orphaned kid, Gemma’s young niece, Cady (Violet McGraw, who has an uncannily doll-like mien and a wonderful ability to convey existential despair, not to mention the gnawing need to be in sync with a device). The ambitious and politely clenched Gemma needs someone, or something, to look after Cady. She also needs to impress her idiot boss David (Ronny Chieng), who runs toy company Funki and is desperate to “kick Hasbro in the dick!” M3GAN, initially, appears to solve all of Gemma’s problems. But guess what? M3GAN is nobody’s puppet.

Nor is Williams. It’s surely not a coincidence that the 34 year-old (who co-produced the movie) was integral to Lena Dunham’s Girls and Jordan Peele’s Get Out. Williams has helped scriptwriter Akela Cooper craft a take on Frankenstein that’s breezily progressive. We learn that Gemma, who’s been keeping her best inventions in the “closet”, uses a Tinder app; most audience members will assume the dates she’s organising are with men. The longer the film goes on, the more Gemma (and her late sister) come into view and Williams handles every twist and turn with aplomb. To put it another way, M3GAN may have silly and predictable moments, but its status as a queer/feminist classic is assured.

Director Gerard Johnstone makes brilliant use of his $12m budget. M3GAN is brought to life via sophisticated but lo-fi technology (there’s very little CGI). Especially in the later scenes, as the fast-learning M3GAN gets ever more life-like, the whole thing leans heavily on young Amie Donald, who performs all the robot’s acrobatic moves and co-choreographed two of the most visually memorable sequences. What a find.

A sequel is in the works. Hooray! Let’s hope this budding franchise evolves in the right direction and maintains the edginess of its three female leads. Gemma, Cady and M3GAN don’t play nicely. They’re just what the horror scene needs.

102mins, cert 15

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M3gan review – top-of-the-range murderous teen robot

This enjoyable horror-lite romp follows in the killer doll footsteps of Chucky and Annabelle

M 3gan is the ultimate prestige toy: a precision-engineered prototype cyborg doll with limpid blue eyes and the capacity to learn from and empathise with her “primary user”. She comes with a price tag that would buy you a midsized family car, a full gamut of judgmental tweenager eye rolls and a taste for casual slaughter. And right now, she’s a lifeline for her creator, robotics engineer Gemma (Allison Williams). Following the deaths of her sister and brother-in-law, Gemma finds herself caring for her traumatised eight-year-old niece, Cady (Violet McGraw). It’s a job that Gemma is only too happy to outsource to Frankenstein’s 4ft devil Barbie, a decision that comes back to bite her (and to attack her with a hammer).

The latest addition to the killer doll genre, M3gan is an enjoyable horror-lite romp: knowing, amusing, but not particularly scary. But while the psychotically perky robot might not have the chaotic energy of Chucky from the Child’s Play franchise or the porcelain malevolence of Annabelle , she does bring a pleasing TikTok-friendly pizazz to her killing rampages. I suspect we’ll be seeing a lot more of the murder toy of the moment.

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M3GAN Review

13 Jan 2023

Sinister dolls have stalked the shadows of plenty of horrors over the years – none, however, quite like M3GAN. Has Chucky ever interrupted a stabbing spree to sing Sia’s pop smash ‘Titanium’? Has Billy the Puppet ever broken into a TikTok-style dance before another Saw franchise victim met their violent demise? The spooky star of this Blumhouse black comedy even differs from The Conjuring ’s Annabelle, despite spilling from the same imagination: where M3GAN producer and co-creator James Wan ’s previous creation was powered by black magic, this one is powered by Black Mirror -esque technology instead.

The result is a deliciously camp hour-and-forty-five minutes of frights. Sure, there’s a Frankensteinian fable in here somewhere about the dangers of letting technology replace real-life human connection – but finding it requires sifting through piles of bodies (and the occasional ripped-off ear). M3GAN , you see, is all about fun – a fact made startlingly clear in its hilarious opening scene, mimicking a Saturday morning kids TV advert. Perhaps we should have seen that coming – the film’s screenplay was written by Akela Cooper, whose 2021 cult hit Malignant was one of the most deliriously unhinged horrors in recent memory.

M3GAN doesn’t quite match that movie’s originality or breakneck rhythms, with director Gerard Johnstone (best known for 2014’s Housebound ) instead opting for a slow-burn pace that builds its tension patiently. By the time M3GAN is truly up and running though, like the sassy AI antagonist at the film’s murdersome core, there’s no stopping it. Is it plausible? Not especially; when mankind makes the civilisation-changing breakthrough in AI that allows true computer sentience, it probably won't be in the basement of a person who flogs Furbies for a living. Is it captivating, however? You bet.

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‘M3GAN’ Review: Brilliantly Crafted Comedy-Horror Delivers a Jolting January Surprise

Don’t judge this smart, provocative chiller by its first-weekend-of-the-year release

It’s extremely impolite to release a film like “M3GAN” in the first weekend of the calendar year. Early January is a time that’s usually reserved for unremarkable or awful genre films like “Underworld: Blood Wars” or the re-quel of “The Grudge.” But “M3GAN” is actually a good movie, and it shouldn’t be tainted by this association with the typical winter doldrums.

Actually, “M3GAN” is more than just a good movie: It’s a great one. Gerard Johnstone (“Housebound”) and screenwriter Akela Cooper (“Malignant”) have crafted a frighteningly fun and excitingly creepy horror-comedy that holds up to scrutiny. It’s thematically rich and emotionally resonant. Maybe 2023 will be a pretty good year after all; “M3GAN” gives us hope.

Allison Williams stars as Gemma, a single, career-focused toy designer whose life gets thrown into upheaval when her sister and brother-in-law suddenly die. Gemma is given custody of her niece, Cady (Violet McGraw, “Black Widow”), but dang it, Gemma is pretty busy, and she spends more time working on her latest project — a Model 3 Generative Android, aka M3GAN — than bonding with or nurturing this young girl who desperately needs a real connection.

Realizing that she can kill two birds with one stone, Gemma reconfigures M3GAN to be not just a high-tech friend, but also a parental surrogate that constantly evolves to meet the needs of a child. M3GAN (Amie Donald, voiced by Jenna Davis) becomes Cady’s playmate, her babysitter, her confidant and pretty soon — because Gemma can’t be bothered to do any heavy lifting herself — her primary caregiver. And M3GAN takes that responsibility very, very seriously. Deadly seriously.

So yeah, that neighbor with the angry dog that threatens Cady’s physical safety? Something’s going to have to be done about that. The bully who injures Cady in the woods? There’s no point in contributing to his college fund. Johnstone’s film takes great delight in showing the audience exactly who deserves to die and then cathartically killing them, a dastardly tone that scratches the audience’s moral itch for justice while indulging in our old-fashioned, mean-spirited bloodlust.

And yet the film’s harshest judgments are reserved for Gemma, who falls prey to the insidious temptation to distract a child instead of raising her. Violet McGraw plays Cady with frank, raw emotion, conveying the kind of visceral responses you might expect from a child too young to process grief, who nevertheless has to mourn her parents. Her connection with M3GAN is a natural response to losing, suddenly, the only people who cared about her and to being thrust into a living situation with an adult who treats her like a problem to be solved.

Johnstone’s film prepares us to share M3GAN’s harsh judgments by freely giving us the high ground over its protagonist. We laugh when M3GAN ominously glares at someone who threatens Cady’s security because it’s the exact same glare we gave Gemma when, instead of spending quality time with Cady, she leaves her alone with an iPad all day. When Cady asks for a bedtime story, the camera lingers on the two of them while Gemma silently downloads a book, more attentive to the smartphone screen with nothing on it than to the niece she’s supposed to be caring for, who’s right in front of her.

The worst critique one can reasonably lob at “M3GAN” is that Gemma — who is supposed to be self-absorbed, not inhuman — never seems to mourn for her own sister. She’s too busy trying to make deadlines, and the movie is far too focused on Cady’s emotions to delve too far into Gemma’s own psychology, leaving the character feeling just a little incomplete.

But that doesn’t get in the way of the story, which plays out with all the bizarre fascination one might expect from Cooper, whose previous script for James Wan’s “Malignant” was also a devilish joy. Working from a story co-written by Wan, Cooper cleverly constructs a screenplay that justifies the mayhem, makes us care about the characters we need to care about, heightens the awful qualities about the characters who are going to die, and deftly sets up some sequels without making it seem like a shoehorned corporate mandate. (One suspects that they might regret putting the number “3” in the title from the get-go, since when that third film rolls around, what then?)

And then of course there’s M3GAN herself. Davis is doing impressive and subtle work, hinting at the character’s emergence as a true artificial intelligence in ways the audience keys into but that the characters can be forgiven for missing. Donald imbues the character with a physicality that’s always odd, and otherwise alternates between charming and shocking. The character is a distinct and thrilling creation.

“M3GAN” is incredibly funny, sometimes sneakily so. There’s a line about “kicking Hasbro in the dick” which has to be an inside joke coming from Blumhouse, the studio that gave us ill-fated/underrated “Jem and the Holograms.” But it’s all so intelligently crafted and thoughtful that “M3GAN” can’t be written off as a lark. Johnstone’s film captures the same alchemical blend of heart, humor and havoc you find only rarely, in crossover classics like “Gremlins,” and it yields more entertainment than most would-be blockbusters.

“M3GAN” opens in U.S. theaters Jan. 6 via Universal Pictures.

Screen Rant

Why m3gan's reviews are so positive.

M3GAN is the first big movie release of 2023, and so far, it's doing great with critics. Here's what they are saying so far about this evil doll.

The horror genre is kicking off 2023 with M3GAN , directed by Gerard Johnstone, and it all points to it being a great start as so far it has been getting positive reviews. The horror genre is still enjoying a great run on the big screen, and amidst reboots, sequels, and requels, there are original stories that are taking the audience by surprise. Among them is M3GAN , written by Akela Cooper and James Wan and produced by Wan and Jason Blum, and it introduces a new type of murderous doll.

M3GAN follows Gemma (Allison Williams) , a brilliant roboticist working at a toy company who unexpectedly gains custody of her niece, Cady (Violet McGraw), after her parents die in a car accident. Gemma uses artificial intelligence to develop M3GAN, a lifelike doll programmed to be Cady’s greatest companion and be Gemma’s ally while parenting, but when the doll starts to become self-aware and overprotective of Cady, she takes a murderous turn and starts killing everyone who stands in her way. M3GAN will be out in theaters on January 6, and so far, it’s getting positive reviews.

Related: Why James Wan's First Horror Movie Is Impossible To Watch

What M3GAN’s Positive Reviews Are Saying

At the time of writing, M3GAN holds a 97% score on Rotten Tomatoes , giving it a (very) fresh certification. The critical consensus praises M3GAN ’s blend of horror and comedy, as it manages to balance its comedic moments with its terrifying ones. The way Cooper and Wan crafted the story to be as far from cliché as possible – meaning being less about an orphan and more about the struggles of grief and the ones her aunt goes through in different areas of her life – while also being conscious of the absurdity of M3GAN’s concept and creation is being pointed out as one of the movie’s strengths, along with the visual effects that brought the AI doll to life. The performances of Allison Williams and Violet McGraw are also being praised, with the former playing an overwhelmed aunt to whom some might end up relating and the latter masterfully playing a child grieving her parents but also delighted by the arrival of her new friend and later conflicted over said friend’s actions.

M3GAN is not just comedy and horror in one, led by an AI doll that provides extreme loyalty and care for her assigned companion, but it also tackles darker and more serious issues, from the different stages of grief to the shadiness of capitalism, and that alone is worth the praise the movie is getting. Here’s what the positive reviews of M3GAN are saying.

Bloody Disgusting

“The eponymous character gets brought to life through impressive effects by Adrien Morot and Kathy Tse, Amie Donald’s uncanny physical performance, and Jenna Davis’s haunting voicework. She exudes menace through facial expressions and jerky movements that trigger that unsettling uncanny valley. This is M3GAN’s movie, and she more than earns it through an immensely talented team. She’s aided by a sympathetic turn from Williams, who successfully prevents Gemma from losing rooting interest despite fumbling hard with Cady. McGraw holds her own against her AI scene-stealer, no small feat considering the nuanced stages of grief she cycles.”

“M3GAN herself is a marvel. Created with a combination of puppetry, animatronics, VFX, and a human actor (Amie Donald, with a voice by Jenna Davis), it's hard to tell when she is real, when she is fake, and when she is a combination. The sound design of M3GAN certainly helps the illusion of the character. With virtually every step, M3GAN whirred and clicked, the sounds of gears moving. Not loud enough to be obnoxious, just noticeable, so that it's clear M3GAN is a robot. Jenna Davis brings an especially joyous vocalization to M3GAN, making her sound both lighthearted and somehow ominous.”

“Allison Williams (who made her mark in horror in Jordan Peele's Get Out) solidly grounds the human drama within this scary sci-fi premise of a killer doll. With an identity defined by her ambition and work, Gemma struggles when her grief-stricken niece needs her attention and the kid's failure to understand the difference between toys and collectibles. Her anxieties about parenthood versus selfhood are radiant, making the audience's skin crawl in recognition.”

“The result is a deliciously camp hour-and-forty-five minutes of frights. Sure, there’s a Frankensteinian fable in here somewhere about the dangers of letting technology replace real-life human connection – but finding it requires sifting through piles of bodies (and the occasional ripped-off ear). M3GAN, you see, is all about fun – a fact made startlingly clear in its hilarious opening scene, mimicking a Saturday morning kids TV advert.”

“The MVP of "M3GAN," however, is the young Violet McGraw, whose multifaceted performance adeptly showcases the emotional intensity of Cady's situation. The film smartly lets Cady actually go through grief and resentment, lash out in anger, and desperately reach for support. It takes these psychological issues seriously — a key part of the film is the question of the mental health impact of letting an emotionally vulnerable girl attach to an android — and McGraw's performance really lands.”

What Critics Don't Like About M3GAN

Of course, not everything about M3GAN is a hit, and even some aspects that are being praised by some are not the favorites of others. Among the weaknesses that critics are finding is that M3GAN lacks twists and shocking moments, which make it predictable as it’s quite obvious from the moment they are introduced which characters will become victims of the murderous doll. M3GAN also doesn’t have many graphic scenes, keeping the gore and kills for off-screen moments, which has been a disappointment to some especially when comparing this movie to Wan’s previous works, most recently Malignant . M3GAN ’s PG-13 rating is pointed out as the responsible one for the lack of on-screen kills and blood, and some scenes seem to have been added just to keep that rating.

The combination of comedy and horror, while praised by many, is being criticized by others, who find that M3GAN relies too much on silly moments (such as the viral dance scene) that ultimately messed with the pace and tone of the story. In addition to that, the human characters are labeled as two-dimensional, making it hard to connect to them and thus care about what could happen to them at the hands of this evil doll. Here’s what the negative reviews of M3GAN are saying.

Awards Radar

“The thing is, M3GAN sporadically seems to be winking at the audience, but also wants you to actually be invested in it. This isn’t a comprehensive enough work to have it both ways. Again, the audience seems to be doing the work for it, hooting and hollering at some moments meant to be played straight.”

Mercury News

"“M3GAN” stocks up on jump scares and keeps the violence PG-13, but fails to make us care about any of the humans in the path of M3GAN. Each character is a rote as an assembly-line toy."

Critics are divided on M3GAN ’s quality as a horror movie mostly due to its comedy and horror combination, though most of this comes from comparing it to Wan’s previous works . What they all seem to agree on is that there’s a lot of impressive work and talent involved in bringing the doll to life in a way that’s enchanting but terrifying as well, and that M3GAN has the potential to become a cult horror movie, though it might take it some time to get there.

Next: Every Horror Movie Releasing In 2023

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Content Caution

In Theaters

• January 6, 2023
• Allison Williams as Gemma; Violet McGraw as Cady; Amie Donald as M3gan; Jen Van Epps as Tess; Brian Jordan Alvarez as Cole; Ronny Chieng as David; Lori Dungey as Celia

Home Release Date

• January 24, 2023
• Gerard Johnstone

Distributor

• Universal Pictures

Movie Review

Most people probably wouldn’t give much notice to a news feed story about a snowy car crash. Accidents happen all the time in snow country. But to vacationing nine-year-old Cady, it was an event that took her everything. The crash stole away her mom and dad. And it left her battered and bruised, physically and emotionally.  

It also left her with someone who didn’t really want her.

Now, that’s no slight against Cady’s Aunt Gemma. She’s not a bad person. Gemma is simply an overworked, thirtysomething robotic engineer who’s ill-equipped to deal with a kid being dropped in her lap. And their awkward interactions with each other prove that in spades.

However, Gemma does have one thing up her sleeve. She just happens to be working on a new project that she had been keeping under wraps at the popular toy company she works for. Her Model 3 Generative Android , or M3GAN for short, might just be the ticket. So, she takes Cady in to show her the kid-sized AI construct.

And everything goes perfectly.

Not only does the robot properly pair with Cady, it also instantly starts playing on the little girl’s level. It’s exactly what Gemma was hoping for. And at the same time, her generally pessimistic-minded boss, David, watched the whole process and was instantly sold. This could literally change the entire toy market, he notes, not to mention make Gemma’s career. Yes, the prototype robo hasn’t been properly tested, but maybe time with Cady could do just that.

For Cady, M3GAN becomes a friend and companion who always listens, always plays. The remarkable android teaches Cady things she needs to know, and it dedicates its digital existence to keeping Cady happy and safe.

And for Gemma, her latest brainchild becomes the babysitter she desperately needs so she can get back to her normal life. And if M3GAN also continually grows and adapts—learning just as it should through its internet connection and the social circumstances around it—the situation could be downright perfect.

There is, however, one little problem that no one anticipates. The internet paired with cold robotic reasoning are not necessarily what you’d call fonts of moralistic insight. That might not have been foremost in Gemma’s engineering mind. But maybe it should have been.

Because when M3GAN senses any danger that comes Cady’s way—such as an aggressive neighbor dog with sharp, snapping jaws; or a local bully boy with a rough mean streak—the android has no compunctions about applying a little super-charged robo-correction. She can sweetly sing a bedtime song; gently wipe away a little friend’s tears; and drop to all fours to aggressively chase off a bullying brat with equal easy skill.

And if said bully ends up broken, torn or, say, dead … well, so be it. Cady, after all, is kept safe. So what does it matter?

That’s what friends are for.

Positive Elements

In one sense, M3GAN does exactly what she is programmed to do. She cares for, teaches, listens to, plays with and protects Cady with every non-beat of her robotic heart. She becomes the ever-watching eye of a parental figure and friend who never backs down and never hesitates to protect. And in some ways, you can’t help but cheer for this single-minded robo friend—especially in light of all that’s been taken from Cady.

For instance, during a demonstration for investors, Cady breaks down, weeping about the loss of her parents. M3GAN quietly comforts her and takes the time to help the girl think of fond memories that she can cling to.

However, there’s a not-so-fine line between protection and cruel choices when it comes to M3GAN’s delivery of justice. There is no right or wrong for her, just “care” and protection. And that sometimes translates into heartless disregard for human life that becomes more Terminator-like and brutal as she “learns” from the web-connected resources at her disposal.

On the other hand, Gemma has some learning to do as well. And she slowly realizes all the ways that Cady has been hurt and damaged, all the things that the young girl must work through. As Gemma wraps her brain around Cady’s needs, she begins to embrace a more motherly role, reaching out tenderly to her niece. Ultimately Gemma puts everything on the line to embrace and protect Cady.

In true sci-fi fashion, this pic makes an analogical point that technology, the internet and social media are no substitutes for parental time and love. And it suggests that adults who lean too heavily on those things usher their family members into dangerous territory.

Spiritual Elements

Sexual content.

When Gemma first ushers Cady into her house, her digital assistant device announces that Gemma has “five Tinder notifications.” Gemma quickly changes the subject.

Violent Content

M3GAN ’s unexpected moments of humor somewhat soften the story’s edgy violence. That said, the film is still packed with sometimes bloody bashabouts (leaving people with bloody scratches and torn body parts), even when the goriest possibilities are kept just off screen.

Two people are stabbed and killed by the broken blade of an office paper trimmer. A boy has his ear pulled and ripped off.  And then he’s chased and eventually tumbles down a hillside and out in front of a speeding truck. We see his bloody boots as he’s placed in an ambulance. (This bully had earlier forced a sharp object into Cady’s hand and pushed her around.)

A dog drags M3GAN through a hole in a fence and then bites Cady’s arm. Later the animal is grabbed and dragged off yelping. An older woman is sent sprawling across a room by high powered water spray. Her hand is then nailed to the wall by a nail gun, and she’s poisoned by weed killer.

Several other people get battered, strangled and bloodied.

[ Spoiler Warning ] M3GAN is eventually torn apart, sliced with a weed whacker and destroyed. There are four deaths total—all of which are relatively bad or deceitful people.

Crude or Profane Language

There’s one f-word (delivered by a child), more than a dozen s-words, and one use each of “h—” and “b–ch” in the dialogue. “Oh my God” is spit out six times, and Jesus’ name is harshly abused 10 times. There’s one crude reference to male genitalia.

Drug and Alcohol Content

Gemma’s corporate boss hands her a drink while talking about her future contract.

Other Negative Elements

Little toys that Gemma’s toy company employers make tend to focus on potty humor gags such as making gassy noises and dropping little pellets out of their backside.

When Cady first moves in with her aunt, Gemma tosses her an iPad (to keep her busy). Cady wonders about the screentime limits that her parents used to impose. “I don’t care,” Gemma casually replies.

When Gemma’s associate sees how Gemma is using M3GAN with Cady, she wonders, “I thought we were creating M3GAN to help support parents, not replace them.” Gemma shrugs the suggestion off.

Someone steals important computer files.

There is something equally cute and creepy about M3GAN (the film and the AI robot).

This robot is something like that incredible toy you once squealed gleefully over on your 10th birthday. She’s also that glinting-eyed doll that made you cry out in shock when you caught a glimpse of it sitting on a shadowed chair. Those combined character elements blend  together with a compelling story and sardonic humor to give this pic surprising appeal.

If you look a bit closer at this picture-perfect android, you’ll also notice that she has even more programmed into her motherboard. For with the right tip of the head and the flick of a multi-lensed eye, you’ll spot something of a sci-fi cautionary tale here: a warning to parents that turning your child over to the care of today’s techy wonders can come at a very high price.

For all of those positives, however, there is another tiny Terminator boot a’ dropping: M3GAN, with her kewpie-doll perfection and girl’s-best-friend charm, is also a steely eyed killer. The just-off-screen goriness gets tamped down to PG-13 levels, but it’s bloody nonetheless. And the film’s language delivers some sharp cuts of its own.

Creepy and cute . Those words don’t always sit well together. But they are part and parcel here. You’ll need to embrace both in equal measure if you invite this dolly to sit on your knee.

After spending more than two decades touring, directing, writing and producing for Christian theater and radio (most recently for Adventures in Odyssey, which he still contributes to), Bob joined the Plugged In staff to help us focus more heavily on video games. He is also one of our primary movie reviewers.

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‘death becomes her’ cast and creators on turning the film into a musical.

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(Left to right) Michelle Williams, Jennifer Simard, Megan Hilty and Christopher Sieber at the "Death ... [+] Becomes Her" Broadway In Chicago world premiere press conference at the Cadillac Palace Theatre on April 16, 2024 in Chicago, Illinois.

It has been 32 years since the dark comedy film Death Becomes Her first arrived on the big screen, about two competitive, middle-aged women willing to go to unfathomable lengths to look young and beautiful forever. This cult classic starred Hollywood heavyweights Meryl Streep, Goldie Hawn and Bruce Willis, a project that has only grown in popularity over the past three decades, intriguing generation after generation with its memorable lines, its outrageous story and its iconic performances. Now, the twisted tale is making its pre-Broadway debut in Chicago with the world premiere of the much-anticipated Death Becomes Her musical adaptation, from April 30 to June 2 at the Cadillac Palace Theatre.

For Universal, the same company that distributed the movie in 1992, this moment has been a long time coming. Chris Herzberger, Senior Vice President at Universal Theatrical Group, said of Death Becomes Her ’s journey from screen to stage, “What we do at the studio in the Universal library is look for great stories and properties that we would love to see on-stage. It’s nearly 10 years ago since we started talking about exploring the idea of a Death Becomes Her musical and we had been getting calls left-and-right of people interested in pursuing this. When we finally got the support of David Koepp and Martin Donovan, who wrote the screenplay, and Robert Zemeckis, who of course directed the film, it was full speed ahead. Since then, it has honestly been the most joyful, hilarious, absurd, wonderful process you could possibly imagine.”

Chris Herzberger and Lowe Cunningham of Universal Theatrical Group.

A few years back, music and lyrics co-creator Julia Mattison recalls hearing about a Death Becomes Her musical idea being kicked around for a few years, before she landed a meeting with Universal. When the idea of adapting the cult classic was brought up in front of her, Mattison remembers jumping at the opportunity and then bringing on her longtime friend Noel Carey to create original music & lyrics ideas to pitch to the Universal team.

"Death Becomes Her" music and lyrics by Noel Carey and Julia Mattison.

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Together, Carey and Mattison wrote two songs on spec, including a musical number that still exists in the show titled “Falling Apart,” which ultimately got them the job in March 2020, at the start of the Covid-19 pandemic. From there, Mattison and Carey recall writing much of the musical together over the phone, on Zoom and renting the occasional cabin.

“I have always been a huge fan of the film,” Mattison said. “Especially college - that was my deep obsession. It was just so fun and as Zemeckis fans, as fans of that craft, we want to make sure to honor it in every way. It’s that beautiful gift where it’s kind of like a messy, wonderful cult film that’s so beloved but it’s rich for source material. We can expand on it, we can get into more specifics in their relationship and build it out.”

The new musical production is directed and choreographed by Christopher Gattelli and stars Tony Award nominees Megan Hilty as Madeline Ashton, Jennifer Simard as Helen Sharp, Christopher Sieber as Ernest Menville and Michelle Williams as Viola Van Horn, a name change from the film’s Lisle Von Rhuman character name, a role made famous by Isabella Rossellini. Alongside their young and energetic ensemble cast, these seasoned actors cannot wait for the world to see this live production for the very first time.

(Left to right) Christopher Sieber, Michelle Williams, Jennifer Simard and their creative team ... [+] during early reveals of the "Death Becomes Her" musical production.

“You guys ain’t ready,” Sieber said, previously known for his stage work in Shrek the Musical and The Prom . He joined the Death Becomes Her production about two years ago, when book writer Marco Pennette reached out to him about the role of wormy and pushover plastic surgeon, Ernest. “We started tech and we’ve seen the set that we’ve all heard of and we’ve seen pictures, but to see it physically and to be in that environment is ridiculous. I haven’t been gobsmacked from a set reveal in a long time and I’ve done a lot of stuff. It’s insane! Not only is the book and the lyrics & music hilarious, but the set and the costumes - it’s really fun!”

Hilty, who is arguably best known for her memorable stage performances in productions like Wicked , 9 to 5: The Musical and on the television series Smash , remembers meeting with Universal’s Herzberger and Lowe Cunningham a year and a half ago, as they shared with her the music and script for Death Becomes Her .

Megan Hilty and her creative team during early reveals of the "Death Becomes Her" musical ... [+] production.

“I was sitting very comfortably in my home in Los Angeles going, ‘Uh oh! I might be going back to eight shows a week. Uh oh!’ Because I kept saying if I ever do it again, because it’s very difficult, it has to be for the right thing. I just think the script and the score are so smart. It’s a very easy trap for a movie to be turned into a musical, to just take it and set it on stage and let it be, but what they’ve done is smartly tailor it to this new medium. The movie is one of my top three films of all-time. I think it elevates the material, what they’ve done.”

As for Simard, perhaps best known for her outstanding stage performances in Disaster! , Company and Once Upon a One More Time , she joined the Death Becomes Her musical early on in September 2022, adding: “I think right away, it was a good fit.”

Jennifer Simard and Megan Hilty behind-the-scenes on the "Death Becomes Her" musical comedy.

Simard went on to say, “Let me just talk about my fabulous co-star Megan Hilty. We have a pact that our relationship off-stage is as important as the relationship on-stage, and it’s only going to feed the relationship on-stage. What I love about Megan, besides her incredible talent - wait until you see her - is that she’s just a gal’s gal and that’s what I try to be, so there’s no room for drama and the ‘frenemy’-ness of Helen and Madeline for the stage - we are friends off-stage.”

Williams, who is very well-known for being one-third of the chart-topping music group Destiny’s Child, is also no newcomer to the stage, kicking off her Broadway debut way back in 2003 in Aida. Since then, she has gone on to perform in stage productions of The Color Purple , Once On This Island and Chicago . Williams says she booked the Death Becomes Her role of Viola Van Horn this past February, an enigmatic character who tempts Madeline and Helen to drink a special potion that promises eternal youth.

Michelle Williams and her creative team during early reveals of the "Death Becomes Her" musical ... [+] production.

Being a Rockford, Illinois native, I wondered what it means to Williams to get to join this production, which is having its world premiere within her home state. “It means the world to me. I had this experience with The Color Purple here in this [Cadillac Palace] Theatre - and so, it’s really amazing to be in these beautiful theaters and that my family members get to see me in a different way.”

Following other fan-favorite films that have made their way onto the stage in recent years, for better or worse, from Pretty Woman and Mrs. Doubtfire to Means Girls and Legally Blonde , I wondered if this Death Becomes Her cast feels the pressure that can come with adapting a treasured tale from the screen to the stage, or if they are able to block out any outside noise and focus on the creative process in front of them.

Jennifer Simard for the "Death Becomes Her" musical comedy.

Simard began by saying, “I feel zero pressure about that. The work speaks for itself. Sometimes those things succeed, sometimes they don’t. In my gut, I have felt like this is a winner from the beginning and that’s due to our book writer Marco Pennette - that’s due to our composer and lyricists Noel Carey and Julia Mattison. Wait until you see this young composing duo and what they’ve done. I’ve sung a lot of things - I’ve been around for a minute and I know when it’s great and I know when it’s not. This is sublime! What they have done is sublime - it’s a joy to sing. Not to mention Christopher Gattelli - he’s the best there is.”

Sieber said, “Here’s the thing about the situation where they put movies on-stage. What sometimes happens is they will take the movie script and shove songs in them. You see that a lot and most of the time when they do it, people go see it because they know the name and they know what they’re going to get. What happens is, it’s not good because you’re just seeing the movie with songs shoved in there.” He added: “We have all the things you want to see from that movie - the lines, the moments, all those great things - those are still there but the source material has been elevated now and we get to do it our own way.”

He went on to tease that the Death Becomes Her stage production tips its hat to the film’s stars Streep, Hawn and Willis during the new musical comedy. “There are moments definitely that we have made sure that they are honored during our show. You will see them, one way or another, which I can’t say, but you will see them. They are in our show.”

Megan Hilty for the "Death Becomes Her" musical comedy.

Hilty playfully added about the pressures that come with adapting these popular cinematic stories, “There are so many elements of this that can be so daunting that it’s paralyzing. Like who do I think I am, doing a role that Meryl Streep has originated? Who do I think I am? But arguably, that’s all I’ve ever done in my career, is take things that somebody else has made deeply iconic and then I’m like, ‘Yeah, I’ll try that!’ But I think the trick to that is honoring what has been set before you and finding a balance between that and bringing yourself to it, so it’s real, you know?”

Being a story about striving to hold onto one’s youth and the fear of beauty fading with age, I asked the show’s two leading ladies, Hilty and Simard, if this 32-year-old Death Becomes Her story feels as relevant in our society today, if not more, with the ongoing use of Botox and other cosmetic procedures, as well as the habitual use of face filters that people tend to use on photos of themselves across social media.

Hilty said, “Absolutely! Unfortunately, these themes are even more prevalent today, in my opinion, and the idea that we are constantly chasing this idea of perfection that is set by who? - and doesn’t exist and just by design makes us to feel terrible constantly. What I love about this show is that these two women, who have arguably done the most in their chase to perfection, ultimately learn that life is not about that. It’s about the people that we surround ourselves with and finding our person, whatever that may look like and however that turns out.”

Simard concluded with, “I can’t speak for all human beings, but I do think a lot of people, men and women, feel the pressure that we all seem to be under in that regard. What I love about this show - let Megan Hilty and Jennifer Simard serve as a warning to the others - this show sort of shows the importance of the right choices in life, which is about finding your people - finding your person. Who are you going to grow old with? That’s the beautiful thing - that’s a natural part of life and it should be.”

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Here's Every Celebrity Who Received Jam From Meghan Markle

Chrissy teigen and john legend dish on meghan markle’s jam they'll keep 'forever' (exclusive), danny devito shares update on upcoming movie with arnold schwarzenegger (exclusive), ateez on making k-pop history at coachella (exclusive), ateez on their dream collabs and favorite songs (exclusive), '1000-lb sisters' star tammy slaton poses in swimsuit after more than 400-pound weight loss, chris pine recalls feeling 'terrified' at 'princess diaries 2' premiere 20 years ago (exclusive), khloé kardashian introduces the family's newest addition, how matty healy feels about taylor swift's 'the tortured poets department' rumored diss track, jill duggar reunites with estranged dad jim bob for her daughter isla's funeral service, courteney cox reveals boyfriend johnny mcdaid once broke up with her during a therapy session, watch ariana biermann seemingly react to mom kim zolciak's post implying kroy died, billie eilish makes confessions about self-pleasure, tour inside lisa vanderpump’s lake tahoe restaurant wolf (exclusive), why kathie lee gifford plans to keep future romances out of the spotlight (exclusive), how travis kelce feels about taylor swift's 'the tortured poets department', anne heche’s son homer says estate can't pay her $6 million debt, jimmie allen admits he contemplated suicide following sexual assault allegations, kyle richards’ daughter farrah aldjufrie's la home burglarized in broad daylight, why kathie lee gifford says 'the golden bachelorette' won't work for her (exclusive), '90 day fiancé': alex tries to talk loren out of her ‘mommy makeover’ surgery (exclusive), the duchess of sussex has sent a host of celebrities a jar of her jam from her american riviera orchard lifestyle brand..

It must be Meghan Markle 's jam, because jelly certainly doesn't cause a stir among celebs like this!

Thanks to some of the Duchess of Sussex's closest friends in entertainment, fans are getting a sneak peak at the jam that is part of her American Riviera Orchard brand. 

On Wednesday, Kris Jenner took to her Instagram Story to share a picture of the jam sitting inside a bowl of lemons, next to a white envelope with her name handwritten on the front. 

Another personal touch, is the "13/50," on the jam's label, which appears to show the exact batch number the momager received. 

Chrissy Teigen went all out for her experience with the jam. 

"We jammin!!," she captioned a video shared on Wednesday. "This might have been one of the best bites we've had all year - all we used is some rustic bread, salted butter, triple cream brie, thick cut bacon and some @americanrivieraorchard jam! took about 8 mins total and made us happy for the entire weekend 🤍."

In the clip, the Cravings author holds up her jar before she gets to work, smearing the jam on bread and eating it like that, before piling cheese and bacon onto the bread and building a grilled sandwich. The spread got her and John Legend's daughter, Luna's, seal of approval, as she gave it a try and said it was good. 

Speaking to ET, Chrissy and John gave a further review of the product. 

"That sandwich was, like, incredible. One of the best bites I've had in a long time," John marveled while thinking back to the quick breakfast dish. "I want that exact sandwich again."

"It was pretty epic," Chrissy added.

Meghan's BFF and Suits co-star, Abigail Spencer, shared a series of pictures with the jam, tucked inside a bowl of lemons, on her Instagram grid. 

"This jam is my jam. A delicious taste of what's to come indeed… love you so M🍓🌱🍋🫶🏽. @americanrivieraorchard," the Timeless actress captioned the post featuring No. 6 out of 50.

By the looks of the photos, Abigail appeared to be in the backyard of Meghan and Prince Harry's home, playing with their dog. 

Meghan and Abigail's friend and community organizer, Kelly McKee Zajfen, showed off her jam on her Instagram grid. 

"Ohhhhh Just a taste of what's to come!!! So proud of you M @americanrivieraorchard 🍋," she wrote. 

Delfina Blaquier, who is the wife of Harry's best friend, Nacho Figueras, Mindy Kailing, Tracy Robbins and Tracee Ellis Ross all shared their jams on their Instagram Stories. 

In March, the 42-year-old royal made her surprise return to Instagram with the launch of her latest venture. At the time, minimal details were revealed, but Meghan gave her followers a clue, as she appeared in a video picking flowers and cooking. 

The account links to  americanriviera.com , which takes users to a site whose landing page is the same logo as IG, except the word "Montecito" is under it. The site also has a link that allows people to sign up for the mailing list. There's currently a pending   trademark application  that has been filed for American Riviera Orchard. Goods and services are listed as cookbooks, homeware, coffee supplies, jellies, jams, marmalades, fruit preserves, and more. 

Updates on Celebrity News, TV, Fashion and More!

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Bob Cole, the play-by-play voice of countless NHL games, dies at 90 

Inspired by foster hewitt, cole called hockey games for 5 decades for cbc.

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Bob Cole, whose voice and lively language were the Saturday night soundtrack to hockey games over a broadcasting career that spanned more than half a century, has died. 

Cole, who was 90, died Wednesday night in St. John's surrounded by his family, said his daughter, Megan Cole.

"Thank you for decades of love for his work, love of Newfoundland and love of hockey," Megan Cole told CBC News on Thursday.

Cole said her father had been healthy "up until the very end." 

Cole's trademark call — "Oh, baby!" — was one of many signposts he brought to play-by-play commentaries that earned him the love of fans and even players themselves.  

"His legacy will be that the players adored him. That's not easy," longtime Hockey Night in Canada host Ron MacLean said in an interview Thursday. 

"He always said the game's the thing, not the show, but the players so respected him… He was comfortable. He was professional. He was talented."

Cole, who said he still got goosebumps in his mid-80s when he stepped into an arena broadcasting booth, called one of the most famous plays in Canadian sports history: Paul Henderson's Summit Series goal in 1972, against the Soviet Union. 

"His voice is iconic. It's all I associated with watching hockey growing up. He has a close spot in a lot of Canadians' hearts over the years," Steven Stamkos, captain of the Tampa Bay Lightning, said in 2019, when Cole called his final game — a classic Original Six matchup between the Toronto Maple Leafs and the Montreal Canadiens. 

"That was the guy you grew up listening to," Leafs captain John Tavares said at the time. 

As Cole wound down his career in 2019, players paid tribute, such as teams skating with their sticks raised high in the air. 

"Well, well, well — Ottawa, pretty classy. Thanks very much," an emotional Cole said as he commented on a Senators tribute made just for him. 

Fixture on Hockey Night in Canada

Already a prominent figure in St. John's broadcasting, Cole leapt to national broadcasts in 1969 when he started calling NHL games for CBC Radio. 

He moved to television in 1973 and would be a staple of Hockey Night in Canada broadcasts for decades to come. He called many Stanley Cup final series over the years, and gave sports fans thrills with on-the-spot comments, some of which have resonated for generations. 

Bob Cole reflects on 50-year Hockey Night in Canada career

"They're going home," he repeatedly said on Jan. 11, 1976, when Russia's Red Army hockey team temporarily headed to the changing room during a heated match with the Philadelphia Flyers, then the reigning Stanley Cup champs. 

The incident occurred during the first period, when Flyers defenceman Ed Van Impe, who had just finished serving a penalty, delivered a hard check on Valeri Kharlamov. The Russian star lay prone on the ice for several minutes, prompting Red Army coach Konstantin Loktev to pull his team off the ice in protest when no penalty was called. The Russian team would eventually return to finish the game.

Drawn to 'the feel of the game'

Rooted in radio, Cole knew that what hockey fans heard could add to their enjoyment of the game. 

"I get a great charge out of making exciting sound, if you want to call it that," he told The Canadian Press in a 2022 interview , after he received a lifetime achievement award from the Academy of Canadian Cinema and Television.

"It's the feel of the game that got me started and I managed to hang onto that, I think, or tried to for so long."

For guidance on how to call a hockey game, Cole once went straight to the top with an audition tape: legendary broadcaster Foster Hewitt.

Inspired by Hewitt in his childhood — "radio was my everything," he told Ian Hanomansing in a 2019 interview — Cole in his early 20s tracked down Hewitt in Toronto.

Hewitt not only agreed to listen to the tape but took Cole into the studio to give him feedback on the spot. 

"It was a dream you would never imagine could happen — Foster Hewitt is talking to me about how he does, how he thinks about a hockey game," Cole said in 2016 interview with CBC to promote Now I'm Catching On: My Life On and Off the Air , a memoir he wrote with sportswriter Stephen Brunt. 

Hockey was not the only sport Cole loved. He curled for many years, twice skipping teams that represented Newfoundland and Labrador at the Brier in the 1970s. 

'Oh Baby!' Take a trip down memory lane with 50 years of Bob Cole calls

During his lengthy broadcasting career, he anchored the news for Here & Now , CBC's flagship TV news program in Newfoundland and Labrador, and was also quiz master on CBC's Reach for the Top in Newfoundland and Labrador. 

His voice appeared outside sports, too. Actor and producer Allan Hawco asked Cole to voice the recap intro heard at the beginning of most episodes of the series Republic of Doyle . 

Barb Williams, executive vice-president of CBC, said in a statement that the public broadcaster is mourning the loss of Cole. 

"What a gift he had. And what a loss to the entire hockey community," Williams said in a statement. "Like every hockey fan across the country, we are deeply saddened.… Bob will always hold a special place in our hearts at CBC."

Download our free CBC News app to sign up for push alerts for CBC Newfoundland and Labrador. Click here to visit our landing page . 

ABOUT THE AUTHOR

John Gushue is the digital senior producer with CBC News in St. John's.

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With files from Peter Gullage, Tony Care and Peter Cowan

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• The Chilling True Story Behind Hulu Crime Drama <em>Under the Bridge</em>

The Chilling True Story Behind Hulu Crime Drama Under the Bridge

Warning: This post contains spoilers for Under the Bridge .

On the evening of Nov. 14, 1997, 14-year-old Reena Virk was invited to a party near the Craigflower Bridge in Saanich, a suburb of Victoria, British Columbia. She never returned home, and was later discovered to have been ruthlessly beaten and killed by a group of her peers.

Based on late author Rebecca Godfrey's best-selling 2005 book of the same name, Hulu's new true-crime miniseries Under the Bridge dramatizes the before and after of Reena's brutal murder, which sent shockwaves throughout Canada. The first two episodes, now streaming, jump back and forth through time to depict the events that led up to Reena's (played by Vritika Gupta) death and the start of the investigation that followed.

Much of the show, created by Quinn Shephard, unfolds from the perspectives of Godfrey (played by Riley Keough), a journalist who grew up in Victoria and was working on a novel about teenage girls in her hometown at the time of the murder, and police officer Cam Bentland (Lily Gladstone), a composite character representing the local authorities who investigated and solved the case.

In real life, Godfrey did not aid in the investigation into Reena’s murder as she does in the series. But she did spend six years interviewing the accused and attending court trials after the fact. "I went home soon after [the killing] and went into the prison," Godfrey told Interview Magazine in 2019 of returning to her hometown. "I was just stunned because the girls all looked like normal, cool, young teenage girls, not particularly like killers."

Here's what to know about the true story behind Under the Bridge .

What happened to Reena Virk?

According to her father Manjit, who wrote a 2008 book about his daughter's life and death, Reena was bullied throughout her childhood. She grew up feeling like an outsider and frequently rebelled against her Indian-Canadian parents—who had raised her as a Jehovah's Witness in the tradition of her mother Suman's family. Prior to her death, Reena had run away on several occasions and reportedly falsely accused her father of physical, mental, and sexual abuse so that she could live in foster care, where she believed she would have more freedom. She later recanted her allegations of abuse and returned to live with her parents.

When she was 14, Reena started hanging out with a group of teens whose ringleader, Nicole Cook, has admitted to initiating the attack on Reena the night she was killed by putting a cigarette out on her forehead. Cook's counterpart in the Under the Bridge book and show is named Josephine Bell, a result of Godfrey fictionalizing the names of the eight teens involved in the assault with the exception of the two who were convicted of Reena's murder. Most of their real names have come out in subsequent years.

On the night of Reena's death, police arrived to break up a large gathering of teens hanging out in the field behind Saanich's Shoreline School. A smaller contingent then moved to the Craigflower Bridge, where Cook—who reportedly wanted to punish Reena for spreading rumors about her—and a group of seven others savagely beat Reena. After the rest had dispersed, two of the attackers, Cook's best friend, 15-year-old Kelly Ellard, and a 16-year-old boy named Warren Glowatski, followed Reena as she staggered away, continued to assault her, and ultimately drowned her in the nearby Gorge Waterway.

Reena's body was found a little over a week later on Nov. 22, 1997.

Read More: Lily Gladstone, Riley Keough, and a Stellar Young Cast Make Under the Bridge More Than Just Another ‘Dead-Girl Show’

What happened to the teens responsible?

In 1998, the six girls—including Cook—who became known as the "Shoreline Six" were convicted of assault in juvenile court for their role in the initial attack that took place. They received sentences ranging from 60-day conditional sentences to one year in jail.

The following year, Glowatski was convicted of second-degree murder in adult criminal court and sentenced to life in prison with a chance at parole after seven years served. He openly expressed remorse and participated in restorative justice programs, including one in which he apologized face-to-face to Reena's parents. He was granted day parole in 2007 and full parole in 2010.

Ellard was also tried as an adult and convicted of second-degree murder in 2000. Her first conviction was overturned on appeal, leading to a second trial that ended in a mistrial in 2004 due to a hung jury. However, she was convicted again in a third trial in 2005 and received the same sentence as Glowatski. Ellard, who has changed her name to Kerry Sim, was granted day parole in 2017 after giving birth to her first child in prison and taking responsibility for her role in the murder for the first time. She subsequently gave birth to a second child while out on day parole in 2020 and reportedly rejected a chance for full parole in 2022, telling the Parole Board of Canada that she was "situationally" not ready for freedom.

In the months and years that followed Reena's murder, the case sparked an intense media frenzy and created a widespread moral panic over bullying and teen violence in Canadian society. Twenty years on, Godfrey wrote in a 2017 article for Vice that the crime "continues to fascinate and disturb."

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Write to Megan McCluskey at [email protected]