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.
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.
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.