Morgan review: letting the gene genie out of the bottle

Luke Scott, son of the more famous Ridley, will already be used to hearing his nippy debut compared to Alex Garland's recent Ex Machina. The subject here is genetically engineered humans rather than cyborgs, but the set-up feels very similar.

We begin with a prologue, shot by surveillance camera, that shows us Morgan (Anya Taylor-Joy), the artificially created subject, arguing mildly with one of her minders (Jennifer Jason Leigh). For no good reason, Morgan springs across the table and stabs the other woman violently in the eye. Following the credits, Lee Weathers (Kate Mara), a steely corporate analyst, arrives to assess whether Morgan – referred to as “the product” – is still worth developing.

The core metaphysical dilemma is a lot less fecund than that in Ex Machina. We will debate for centuries as to whether artificial intelligence can generate consciousness, but the argument that Morgan is an "it" rather than a "she" fails to sit up straight. After all, Dolly the Sheep was very definitely a sheep.

Morgan is also a lot busier than Garland's chamber piece. The film is packed with familiar faces – you will know the excellent Taylor-Joy from The Witch – who often deliver just half a line before retiring or perishing. Michelle Yeoh is the boss. Paul Giamatti is a senior administrator. Rose Leslie from Game of Thrones is Morgan's only real friend in the compound. Brian Cox and Toby Jones are also on board.

It’s not entirely clear what drew all the talent to this project. After a decent, talky first half – shot in subdued shades to a sober score by the esteemed Max Richter – the film comes into its own when chaos closes and a chase breaks out in the surrounding forest.

The outer cast are elsewhere as Mara (dead-eyed, ruthless) and Taylor-Joy (sad, confused) throw themselves into a series of excellent action sequences. The closing conflagrations are so ruthless, painful and exciting that it becomes easy to forgive the too-obvious twists that tie up the main narrative.

Indeed, filmed to advantage in Northern Ireland, Morgan has a taut efficiency that is often missing from the recent work of Scott père. No offense, Sir Ridley.