I missed the first 10 minutes of Morgan (train traffic), but I think I got the gist: the titular artificial human being randomly attacks one of the scientists who created her, and now it must be decided what to do. This is not groundbreaking as far as sci-fi premises go, but it offers a sizable sandbox to play around with fruitful ideas. Unfortunately, much of the movie is spent on characters discussing vague relationship drama instead of exploring this speculative field of study. Eventually, it does get going, evolving into a fairly involving tête-à-tête between Anya Taylor-Joy (Morgan) and Kate Mara (the risk assessor).
It all culminates in a twist ending that some people may see coming from a mile away. I didn’t figure it out until about five minutes before it was revealed, mostly because I wasn’t trying to figure it out. When I assess the quality of twist endings, I ask: does keeping this information hidden from the audience add, or meaningfully alter, anything? In this case, it feels adequately appropriate, as it makes the audience and the characters equally in the dark. But that is pretty much the bare minimum, and Morgan in general only accomplishes the bare minimum of what it seems primed to do.
I give Morgan an “It could have used a lot more Paul Giamatti, but also in a way that made sense.”