M3GAN 2.0 shows what can happen when a filmmaker doesn’t shackle themselves to the expectations of a genre, allowing instead for the expansive potential of a story to lead. And what a story this one is. This sequel to the 2023 horror hit about a killer doll takes viewers through a new chapter of M3GAN’s journey. Those expecting a horror film with all the usual tropes may be disappointed, but those willing to allow the franchise to tell a new story will no doubt have a fun time. A bonus is the opportunity to explore some socially relevant topics along the way. M3GAN 2.0 explores the dangers of AI and human nature with wit, thrills, and unapologetic attitude.
Written and directed by Gerard Johnstone from a story by Johnstone and Akela Cooper, M3GAN 2.0 takes place two years after the original film. In the first movie, the M3GAN doll, a marvel of artificial intelligence, went rogue and embarked on a murderous (and highly choreographed) rampage before being subsequently destroyed. Since that time, M3GAN’s creator, Gemma (played by Allison Williams), has become a high-profile author and advocate for government oversight of AI. Gemma’s niece, Cady (Violet McGraw), has learned to adapt to a life without her protector and murderous bestie, M3GAN, while occasionally butting heads with Gemma.
Unbeknownst to them, however, the underlying tech for M3GAN was stolen and misused by a powerful defense contractor to create a military-grade weapon known as Amelia (Ivanna Sakhno), the ultimate killer infiltration spy. But as Amelia’s self-awareness increases, she becomes decidedly less interested in taking orders from humans—or in keeping them around. With the future of humankind on the line, Gemma decides she has no choice but to resurrect M3GAN (Amie Donald, voiced by Jenna Davis), giving her a few upgrades, hoping that the newly revived doll doesn’t ultimately betray her.
From this synopsis alone, it’s pretty clear that the sequel’s story has a very different tone from the first film. Its predecessor was more along the lines of a new take on the classic killer-doll horror trope (think CHUCKY) with biting commentary on popular culture, consumerism, and some artificial intelligence along the way. M3GAN 2.0 maintains the biting commentary spirit and focuses even more on the debate surrounding artificial intelligence, shifting from a direct horror atmosphere to a darker science fiction tone.
That’s not a negative in this critic’s opinion, given that killer-doll horror stories can only go so far and are often limited in scope and story beats. It appears that the creators behind the M3GAN franchise recognized this dilemma and planned accordingly—not throwing out the entire concept of the first film, but clearly not wanting to be limited by it either. What unfolds is an ambitious storytelling experience that achieves its goal 90% of the time. 
Horror is a genre that holds a mirror up to society, exploring its less desirable aspects through symbolic themes. Science fiction, too, can do this, especially when exploring humankind’s relationship to technology, progress, and scientific exploration. With the dangers and benefits of artificial intelligence currently dominating the newsfeed, M3GAN 2.0 incorporates that debate boldly into the story. One of the main characters, Gemma, has become an advocate against technology due to her traumatic experience with M3GAN in the first film, but she now must grapple with the fact that she may have no choice but to depend on the very tech she wants to have regulated, as the rest of the world (and the government) hasn’t gotten the memo that AI shouldn’t have unbridled expansion.
It’s a relevant theme in relation to our real world. Given all the reservations about artificial intelligence—and the tech capitalists behind it—we know that the train of “innovation” will continue down the tracks no matter whether we, as individuals, are on board or not. The question—that is also posed in the film—is how do we, as a society, approach such technological progress, and who do we allow to lead us, and in which direction? The film seems to come to its own clear conclusion on the topic, but there’s enough substance presented on both sides for viewers to think their own way as well. While many summer movies prioritize aesthetic and vibes over messaging and depth, M3GAN 2.0 strikes a nice balance between the two.
Interestingly enough, it is also within its “vibe” that it manages to add layers—particularly in its unapologetically feminine and women-led aesthetic. When M3GAN first came onto the cinema scene, she was quickly compared to the previously mentioned character of Chucky. The foul-mouthed male serial killer trapped in the body of a “Good Guy” doll has been the dominant figure in that sub-genre of horror for decades. Instead of competing with Chucky’s unconstrained rage, the first M3GAN film went in a different direction, leaning into the current popular culture of TikTok dances and viral moments with a doll that was self-aware of both itself and the failings of society as a whole. Chucky’s weapon of choice was the knife, while M3GAN’s was—well, a knife occasionally—but also the technology around her. M3GAN was a girl’s girl, and she had no tolerance for naughty and somewhat sexist boys with an ego. M3GAN 2.0 continues in a similar vein, with female figures leading the way, bringing those sensibilities to the forefront.
This is always welcome, given that at times, in the space of science, innovation, and tech, male voices are often the ones given the most attention (read: Elon Musk, Tim Cook, Sam Altman) and are seen as the go-to authoritative figures. Jemaine Clement as eccentric tech billionaire Alton Appleton (a name that feels like a mixture of “Elon” and “Apple Inc.”) absolutely chews up the scenery—in a great way—being the character embodiment of the type of “tech bro” energy and toxicity that this realm of science and technology has unfortunately been dominated by.
M3GAN 2.0 centers women and female-coded characters. Gemma is the tech genius dealing with the ramifications of her own creation and what it means for not only her niece but the world as a whole. Allison Williams, who has played more off-kilter characters in the past, gives a more grounded performance as Gemma, which serves as a great contrast to the more outlandish characters—such as M3GAN—around her.
And while some may have an issue with the genre-breaking of the sequel, it would be wrong to assume no popular franchise has successfully done this in the past. The first Terminator film—another franchise exploring the crossroads between the human experience, technology, and the pitfalls of greed—was indeed a horror movie. Arnold Schwarzenegger played the murderous T-800, a robot sent back from the future to kill the leader of a human resistance group. In the second film, Terminator 2: Judgment Day, Schwarzenegger’s T-800 returns, but this time with a different mission—to protect. The sequel took a more action-packed approach, incorporating some humorous moments along the way. M3GAN 2.0 is Terminator 2 “serving c*nt” to use a popular phrase from the Drag Race community. That is, it is unapologetically feminine, brimming with sass and wit—and viewers will no doubt love every bit of it if they open themselves up to the twists and turns.
There are moments that feel somewhat predictable, and certain plot points are tied up in neat little bows that seem slightly contrived, but that doesn’t detract from all the elements the film gets right. The story is engrossing, the pace never feels clunky, and although a lot is happening in the movie, it never feels crowded. Jenna Davis’s voice work as M3GAN remains a high point of the franchise, beautifully complemented by Amie Donald’s physical embodiment of the character on screen. Ivanna Sakhno as Amelia, the murderous new robot in town, gives a chilling performance that will scratch the horror itch for those still craving it from the film. And this film nerd appreciates M3GAN 2.0’s references to the iconic sci-fi classic that helped start it all—Metropolis.
Overall, M3GAN 2.0 offers great social commentary alongside fun thrills. It may not be an overt horror movie, but it doesn’t need to be. What matters is that it tells a great story that will no doubt stick with viewers who see it.
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