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Love Death & Robots Review – Prestige TV with added sexbots | Television and radio

IBeing online has constantly violated our attention, commissioning the future picturn mix of Love Death & Robots seems like a smart Netflix move. This is a prestigious TV in the form of a convenient pill: a sprawling anthology of 18 animated short films that run on average in just 12 minutes, whipped together by a prominent credit-producing David Fincher.

After Se7en, Fight Club and even the compromised House of Cards of Netflix, the imprimatur Fincher remains a shortcut for a frown and a cunning nihilism. It is not surprising, therefore, that a high percentage of Love Death and Robots is aware of the NSFW. The suggested trailblazer, Sonnie's Edge – a brutal story of exploitation of gladiator blood using mind-controlled aliens – drops its first C-bomb in the first few minutes and blandly uses sexual violence as a plot point.

Elsewhere, excessive spurts of blood and casual nudity are stereotypes of maturity, even if the episodes of Death Death & Robots most voted for X are rarely as transgressive as one imagines them to be. The thriller Hectic Chase The Witness is visually the most exciting thing here, with a cheeky aesthetic similar to the recent Oscar Spider-Man: Into the Spider-Verse, but the story shrinks to a halt for an unscrupulous striptease that looks horrible and useless. If the cyberpunk stories about exotic molested dancers and anguished sexbots should be an avant-garde science fiction, then a R2 # MeToo moment seems to be long overdue.

The continual leaps in computer-generated imaging and motion capture mean that animated models can now look incredibly human, allowing filmmakers to imitate epic sci-fi successes on a minimal budget with decidedly effective results. The shirtless helper condenses the zero-G astro-danger of stomach gravity in 10 surprisingly effective minutes. The violent but sentimental Lucky 13 is a war story in the style of Starship Troopers with a disturbing CG likeness of Samira Wiley, whose engaging performance elevates a plot of tonnage. Likewise, the space truckers of Beyond the Aquila Rift help to establish what is a satisfyingly evil psychological horror located in the farthest part of the cosmos; although they are only strings of one and zero, their panic seems plausible.

Love, death and robots.

Violent but sentimental … a Wiley-alike Samira in Lucky 13. Photography: Netflix

These impressive technical showcases will deserve highlights of someone's animation showreel someday, but short films are oriented in the opposite direction of cyber-realism with tight teeth that are generally more pleasant. Post-apocalyptic tale Three Robots follows a trio of adorable droids on a tourist journey through a shattered capitalist world, demonstrating once again that it is possible to get a lot of comedy mileage from an inflexible cyborg voice. Meanwhile, the famous Fish Night, with cel-shaded, directs its traveling salesmen into a phantasmagorical dream landscape that is as phantasmagorical as it is science fiction.

Sixteen films (if you can make it there), Love Death & Robots also relaxes its strict animated criteria for the Ice Age, allowing movie stars Mary Elizabeth Winstead and Topher Grace to react to a flirtatious miniature flamboyant in their vintage fridge, a cheerful last palate-cleaner in a collection that turns heavily towards the dystopian. Seeing real humans is a welcome shock, but realizes how few surprises there are elsewhere.

Love, death and robots.

A dazzling miniature civilization … Love, death and robots. Photo: Netflix

Taken as a whole, it is a science fiction pot pourri that benefits from a "dive and jump" approach. While each short film is well executed, beating them in a rapid succession becomes dull rather than sharpening their impact. Fincher could be the name that attracts attention, but perhaps his colleague Tim Miller – who created the opening sequence S & M for Fincher's adaptation of the film The girl with the dragon tattoo – holds the real key to Love Death and Robots. Miller's short film with his profane and violent demonstration of Deadpool was a springboard to direct what has become a $ 780 million hit and starting franchise. Perhaps a lucky student of Love Death and Robots will follow in his footsteps and do the same.

Love Death & Robots is on Netflix now.


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