Do not expect any electric sheep to dream of this dream-dream.
This is a free review of the spoiler of the new anthology of Netflix, Love, Death and Robots, which is now streaming on Netflix.
When Tim Miller and David Fincher set out to create Love, Death & Robots, Fincher says, they just want to do something "cool."
The mission ended. The Netflix's new series of anthologies ̵
The shorts have no theme or message – some are dark and nihilistic, others are poetic and dependent, some are surreal or frankly comedic – but no two shorts are the same, which use animation teams and studios from around the world, including Digic Pictures of Hungary (who have recently worked in in-game cinematics on Destiny 2 and the trailer for Ubisoft's Rainbow Six Siege), Image Unit of France (God of War, Beyond Good and Evil 2), Poland's Platinum Image (Metro Exodus, Dishonored: Death Of The Outsider), Korea's Reddog Culture House (Overwatch, Voltron: Legendary Defender) and Miller's # 1 based Blur Studio LA (Far Cry 5, Shadow of the Tomb Raider), to name a few.
and drawing job drawing, who sometimes play li on extended game cutscenes or trailer cinematics – but all of them are aesthetically stunning, though they can not do it all over Wonderful valley.
Others use stylized CG, rotoscoping, 2D, or mixed media techniques, and for the most part, it's more traditional animated shorts that really pack a punch, maybe because the photo -real CGI is becoming so omnipresent, especially in gaming.
Miller and Fincher said that let them tell the story dictate the way every short is Animated, and CG shorts are actually the most ambitious in terms of size, with "The Secret War" featuring desperate the armies struggle against the scary monsters in the Siberian forest, and "Sonnie's Edge" showing a complex battle gladiatorial monster. But there is something clinical about the pieces that can keep viewers away – the most effective of photo-real shorts is "Helping Hand," a claustrophobic chamber piece that cleverly ratchets up the tension that's going to be worthwhile. leave you squirming in your seat without ever outstaying
The "Witness," taught and written by artist Alberto Mielgo, is undoubtedly the most striking and inventive bunch – with cruel composition and acting in its graphics, it corresponds to Into the Spider-Verse's response to a music video of Marilyn Manson, though it strikes itself on some questionable questions that are being analyzed to ensure that his female opponent is usually naked for most actions. (An unnecessary behavior, given the fascinating twists of the story, but probably not one unwelcome one for many viewers.)
But the calling of Love, Death and Robots free of charge is kind of superfluous, as it seems to be the whole point – Miller and Fincher are eagerly trying to test the boundaries of the vessel and create something that can not be found on a mainstream multiplex or on the television network, with buckets of lonely , a lot of nakedness (both male and female), and complex violence. This is the storytelling that opens at eleven, and it quickly becomes apparent if a particular brief is your cup of tea – thankfully, you just need to wait a few minutes to see something completely different if it is not.
But as much as the Black Mirror, the trash of a viewer is potentially the wealth of another, and the chocolate box of possibilities means that if one magnifies the entire three-plus selection time ( as your reviewer did), or two or three shorts, it is likely that you are bored, and you will surely come with at least a couple of stories that you love very much.
If your wish is aligned to the mine, the more fun plots seem the most likely to remain with you (But if you love monsters and epic battle scenes, you'll still find your interests that are great represented). The article "Zima Blue" is a surprisingly violent insult to the meaning of life, presented by a handsome, widespread character design, while "Fish Night," based on a short story author Joe Lansdale , is an experimental desert journey with very good use of color and imagination. A trio of comedic tales – the sneaky "Three Robots," short, "When The Yogurt Taken," and the more humorous "Alternative History," all taught by Victor Maldonado and Alfredo Torres in various styles – was clear standouts, showing the flexibility of the format.
While Love, Death & Robots has a wide range of designs – its only goal is to explore interesting stories from throughout science fiction, fantasy, horror, and comedy spectrum – it would be interesting to see what a more cohesive, focused collection would look like. There are coincidentally recurring elements (cats, boobs, and hybrids of human beings in them) but taking into account what a wide range of genres and anthology performances style, the possibilities are endless, so it's easy to think of a time entirely focused on one aspect of the project's title (death and robots are the same as solid supplies here, but love, not too much) or a specific genre. However, it's a smorgasbord of amazing stories and engaging visuals, and it's a trip that should prove useful for any genre fan looking for a quick detour from the truth