Released in early September, Morgan (2016) was billed as a promising new sci-fi horror/mystery movie, but quickly falls flat. It stars Kate Mara as Lee Weathers, a “corporate consultant,” Anya Taylor-Joy as Morgan, and Rose Leslie as a behavior specialist. Paul Giamatti makes a notable appearance as the only character with emotional depth.
Going into the film, I thought it was going to explore the ethical issue of genetic manipulation and cybernetic enhancement. I thought it would pose an interesting dilemma to the audience about whether research of this nature should be pursued, like Ex Machina (2015) did for artificial intelligence. Boy, was I disappointed.
First, the film was deceptively marketed. It’s not a mystery and it barely passes for horror. Its IMDB summery is, “A corporate risk-management consultant must decide whether or not to terminate an artificially created humanoid being,” but that’s not actually the plot.
Spoiler alert: the end of the film reveals that the corporate consultant was actually a genetically-enhanced assassin, and the whole exercise was an excuse to see whether her version could defeat the newer version, Morgan. So, in the end, there’s never a question about whether Morgan should be terminated, and the protagonist never solves a mystery–she knew what Morgan was the whole time. The result was a boilerplate chase/assassin thriller.
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Released in July 2015 and based on the novel by John Green, Paper Towns (2015) is a coming of age story centered on Quentin “Q” Jacobsen and Margo Roth Spiegelman, childhood friends who drift apart while growing up in a nondescript Orlando, Florida subdivision. I enjoyed this film. It weaves urban exploration, road tripping, and geography/cartography around deeper themes involving free will, expectations vs. reality, friendship, and how we confront our own mortality.
The title of the film, Paper Towns, comes from a type of fictitious entry that cartographers sometimes use to discourage plagiarism or copyright infringement. This becomes important when Margo Roth Spiegelman refers to Orlando as a “paper town” before she mysteriously disappears. Her friends attempt to track her down near a famous fictitious entry, Agloe, New York.
To briefly summarize the plot, as a young boy Quentin Jacobsen, played by Nat Wolff, is immediately smitten with Margo Roth Spiegelman, played by Cara Delevingne (a discount Emma Watson), after her family moves into the house across the street. They become inseparable, until one day they discover the body of a man who committed suicide in a park. Margo wants to investigate the man’s death, but Quentin chickens out. After that, the two drift apart. Quentin becomes a band geek who always follows the rules, while Margo constantly lives in the moment and falls in with the popular crowd.
One night, in their senior year of high school, Margo asks Quentin to help get revenge on her boyfriend and her friends, who betrayed her. After sharing this moment together, Margo mysteriously vanishes. Quentin begins to break out of his shell, and enlists the aid of his friends in a lengthy search for his missing soulmate.
Continue reading “Paper Towns: An Existential Mystery”