Morgan

On a secure site in a secluded wood, risk management consultant Kate Mara is on a mission: after a violent episode involving the company's eponymous 'biological organism' (Taylor-Joy) and her minder (Jennifer Jason Leigh), Mara is to ascertain whether or not Morgan, currently housed in a secure bunker, and the programme should continue. The doctors on site – Jones, Michelle Yeoh, (Game of Thrones') Rose Leslie and others – are loyal to their charge but will know if Morgan will remain a threat once incoming psychologist Giamatti meets with her/it/her…

Ex Machina 2: Black Site would be a naff but suitable alternative title as Luke Scott's (son of Ridley) debut lacks the intelligence of Alex Garland's sci-fi. Hell, 1982's Android had more intellect, D.A.R.Y.L more emotion. What's frustrating is that Morgan open a big book interesting themes but bizarrely leaves the pages unturned. Although looking like a teenager (complete with hoody), Morgan was created/born only five years ago and so is incapable of processing the range of emotions she/it’s asked to deal with - a metaphor perhaps of today's society forcing children, especially girls, to grow up all too quickly. But that’s not developed. "Forgive me," Morgan says to Giamatti, "I struggle with metaphor." That’s the entire film in one line.

We're also told that Morgan’s consciousness is 'different' to humans, which would be exciting if we were allowed to know why, and it touches on the Dickian more-human-than-human question - If an artificial intelligence can make you care for it, does it matter if it is real or fake? - but that territory too is left uncharted.

No, there's no time for all that when there's an implausible sub-Bourne fight scene or yawn-inducing car chase, complete with crap techno soundtrack, to be had. After a very competent first half, Morgan descends into a trashy action movie where intelligent characters suddenly become incredibly stupid to advance the increasingly daft narrative. Inescapable prisons become, well, conveniently escapable. And the twist? Well, that is glaringly obvious in the first five minutes.

Morgan looks the business and there are solid performances afoot (Anna Taylor-Joy shows that The Witch was no fluke) but it’s determination to ignore what would have made it worthwhile and embrace what will make it wholly forgettable is baffling.