Lee Weathers is a "risk-management specialist" for genetic-engineering company SynSect. She arrives at a rural site hosting its L-9 project, an artificial being with nanotechnology-infused synthetic DNA named Morgan. The "hybrid biological organism with the capacity for autonomous decision making and sophisticated emotional responses" is smarter than humans and matures quickly, walking and talking within a month and physically a teenager despite being five years old..
When Dr. Weathers first meets Morgan, the music playing is the countertenor (originally soprano castrato) aria, "Ombra mai fu", the opening aria from the 1738 opera, "Serse" ("Xerxes") by George Frideric Handel. The aria is often referred to as "The Aria of Love" and is often used, with or without lyrics, as incidental music at weddings. The music (sans vocals) alone is known as Handel's "Largo" because of the tempo signature of the piece. See more »
Of Morgan: "She likes different kinds of music. Jazz, classical. She's been quite taken with opera of late."
(woman singing) The piece is Handel's largo, which is written as opera but nobody would refer to it as a taste for opera, any more than Handel's Messiah. Baroque would be the category. It's a different audience entirely. See more »
Dr. Kathy Grieff:
[enters the holding cell]
Hi, darling. It's me. I thought we'd have lunch together today. Oh, angel, you look sad. You know, it's a very, very natural thing. It's actually a very human thing to feel sad. But emotions aren't bad.
Dr. Kathy Grieff:
I'm sorry, baby. I'm still trying to get them to change their mind and let you out for a little bit.
Dr. Kathy Grieff:
[Morgan suddenly lunges at her and begins stabbing her]
No! Get off! No! Oh, god!
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Do paranoid androids dream of electric sheep? Nope, of killing their creators!
"Morgan" is the name of an android, a piece of artificial intelligence, created in all secrecy by a team of devout scientists, in a lab somewhere hidden in a remote and forestry region. Before you start praising the downright magnificent make-up effects on the girl, bear in mind it's actress Anya Taylor-Joy's real face. She's a really good and talented young actress, but admittedly she has a bit of a weird face, which - luckily for her - helps to obtain interesting roles as the "outcast-girl" (also in "Split"). Anyways, Morgan is only five years old, but she already looks like an adolescent and she behaves like a spoiled teenager. Lately, there have been serious issues with Morgan, and she even stabbed one of her creators in the eye. Corporate headquarters sends out emotionally numb but highly professional risk-manager Lee Weathers to assess if "Project Morgan" should be terminated or not. Needless to say, Morgan's makers grew to love her as if she were a real child, and they will not accept that's she killed based on an evaluation by an outsider. Director Luke Scott (son of Ridley who made the Sci-Fi landmarks "Alien" and "Blade Runner") initially tries hard to make "Morgan" is a very ambitious, existential and emotionally challenging Sci-Fi/thriller, but he can't prevent that it turns into a rather ordinary 'stalk & slash' type of B-horror. There are a handful of terrific sequences, notably the scene with Paul Giamatti as the obnoxious auditor, but it's ultimately too lightweight to be considered a significant genre effort. Scott Jr. managed to gather an impressive cast (including Brian Cox, Jennifer Jason Leigh, Toby Jones, Paul Giamatti) and the special effects are more than adequate, but I doubt anyone will remember "Morgan" in ten years' time.
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