Sorry, Brahms, but it’s not even close. For all of the tricks that the porcelain creep has up his sleeve, M3GAN is way too smart to fall for any of it. They share a similar purpose, though, in that they both attach themselves to emotionally fragile children, harnessing their vulnerability to work in their favor.
In “The Boy,” you’re led to believe that Brahms, a porcelain doll, has been doing all of the creepy haunted house stuff of his own accord, before it’s revealed that its human inspiration has been living inside of the walls this whole time. “The Boy II,” however, retcons this, as a new child becomes attached to Brahms, but we discover that the fragile toy had actually been possessed by a demon with a butthole mouth this entire time.
All of this is to say that while Brahms relies on his human counterparts to do his bidding for him, M3GAN can actually move about on her own. Even if Brahms were to someone choose one of his generational puppets to perform a sneak attack on her, the mechanical slasher would smash his dumb face in before he could even concoct a plan. It’s almost unfair to pit the two against one another, because on some level that would include the assumption that Brahms ever had a fair chance. M3GAN would have no trouble getting her hands dirty, and would likely laugh at the audacity to think Brahms even had a sliver of a hope of making it out alive.
“M3GAN” is now playing in theaters nationwide.