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Movie review

AI doll is both creepy and hilarious in horror film M3GAN

Alex Bentley
Jan 6, 2023 | 10:15 am

There are some horror movies where fans go in wanting and expecting to be scared out of their minds. The new film M3GAN is not one of those. From the moment the trailer dropped, the star of the film – a child-sized AI-enabled doll – was turned into a meme, mostly because of a scene where M3GAN dances creepily in a hallway.

Viewing the film as a comedy is the only way to properly enjoy it, as nothing it contains can be taken seriously. Not that there aren’t some serious undertones to the story, as Gemma (Allison Williams) is given custody of her niece Cady (Violet McGraw) after Cady’s parents die in a car accident. While willing to take her in, Gemma is not exactly equipped to be a parental figure, as she’s obsessed with her work at a tech toy company.

Her latest invention is M3GAN (played by Amie Donald, voiced by Jenna Davis), a doll designed to become a kid’s best friend, able to react spontaneously to any and all conversations. Gemma unknowingly unlocks a more sinister side of M3GAN when she tells the doll to protect Cady from all physical and emotional harm. That becomes a job that M3GAN takes super-seriously, to the detriment of anyone or anything that dares look at Cady sideways.

Directed by Gerard Johnstone and written by Akela Cooper, the film is only scary if you’ve never watched a Chucky or an Annabelle movie before. To be sure, M3GAN is creepy as hell, with wide, unblinking eyes and a ramrod-still posture most of the time. But none of the scenes are set up to elicit screams; instead, it’s all about anticipating what kind of havoc the doll will wreak, and then laughing at what the filmmakers have put on the screen.

It’s also best not to think too hard about the victims of M3GAN’s murderous spree, as they include ones like kids and dogs that most films typically avoid. However, most of the violent scenes are stunted; the film is rated PG-13, which means that there is relatively little blood to be seen and almost nothing graphic. That’s a double-edged sword; a friendlier rating will bring in more viewers, but it leaves many of scenes of horror unsatisfying.

The filmmakers are not subtle about artificial intelligence being something that people should fear, also including an Alexa-like home smart device as part of the story. The film is seemingly set in the near future, where technology has advanced a little – but not too far – beyond what is currently available. This possible warning about where the world may be headed is overshadowed by the insanity put forth by M3GAN, though.

You don’t go to a film like M3GAN for the acting, but Williams and McGraw acquit themselves well anyway. With Donald providing the movements and Davis the voice, M3GAN becomes a wholly believable character, one that no one would want anywhere near them. The funny Ronny Chieng is mostly wasted as the CEO of the toy company.

Will M3GAN remain a part of pop culture past the end of January? It’s not likely, especially since it won’t go down as a memorable horror film. But for the first major movie release of the year, it provides more than enough entertainment to justify its existence.

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M3GAN is now playing in theaters.

M3GAN in M3GAN
Photo by Geoffrey Short/Universal Pictures
M3GAN in M3GAN
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Movie Review

Teenage Sex and Death at Camp Miasma gives horror a surreal twist

Alex Bentley
Aug 14, 2026 | 1:30 pm
Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma
Photo courtesy of MUBI
Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma.

The horror genre really ramped up in the 1970s and ‘80s, bringing with it a new subgenre - the slasher - that gave audiences new visuals of gore, but also a reliance on sexism and homophobia that would come to define the era. The new film Teenage Sex and Death at Camp Miasma wrestles with that legacy in ways that are funny, thought-provoking, and downright strange.

Kris (Hannah Einbinder) is a queer filmmaker who has been hired to reboot the moldy IP that is the Camp Miasma franchise, one that was fresh in the 1970s but which numerous shlocky sequels have rendered irrelevant. In an attempt to get to know the property better, Kris has scored a meeting with the reclusive Billy (Gillian Anderson), the star of the original film who has shunned the public eye for decades.

Turns out that Billy lives deep in the woods at Camp Rivoli, which served as the location for the first film. As Kris tries to get to know Billy and convince her to be a part of the new film, she starts to fall under Billy’s spell and the lore of the franchise as a whole. That includes believing that the movie’s villain, Little Death - a transgender person who has an air conditioning vent as a head/mask - may not just be a character created for the movies.

Written and directed by Jane Schoenbrun (I Saw the TV Glow), the film at first feels like it’s going to go the straight-up comedy route, with comic explosions of blood, a strange fascination with candy brands, and a production design that does nothing to hide that the two main actors are on a movie set with painted backdrops. This is backed up by Kris’ phone conversations with her girlfriend, Mari (Jasmine Savoy Brown) and her agent (Sarah Sherman), as well as numerous other details.

But the film starts to go down the surreal route the longer Kris stays at the camp with Billy, especially when they sit down to watch the original Camp Miasma. An extended sequence shows a good amount of that film-within-the-film, demonstrating why Kris and Billy have a love/hate relationship with the property. For Kris, though, the lines between the film and the real world start to blur, and Schoenbrun uses a variety of out-there elements to drive the point home.

The final act of the film can barely be described as Kris goes deeper down the rabbit hole, with Schoenbrun using her film to comment on the horror genre as a whole, its treatment of women and LGBT people, the movie industry, and more. All the while the “camp” of Camp Miasma maintains a presence, with candy wrappers showing up everywhere and the tongue-in-cheek references to Little Death (the French term La petite mort, which means “the little death,” is a euphemism for orgasm).

Einbinder, an Emmy winner for Hacks, is the perfect person to inhabit her role. Her established real-life and fictional personas color everything she does in the film, with her enthusiasm and curiosity shining through. Anderson leans heavily into another reference - Norma Desmond from Sunset Boulevard - to create a character that is as mysterious as she is alluring. Supporting actors like Brown, Sherman, Patrick Fischler, Dylan Baker, and Eva Victor keep the movie at the right pitch all the way through.

While other films have made fun of horror movie tropes before, Teenage Sex and Death at Camp Miasma finds a wholly unique way of doing so. It’s a funny and daring trip into the psyches of two women who may be victims of their own obsessions, and of the movies that made them that way.

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Teenage Sex and Death at Camp Miasma is now playing in select theaters

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