When the first volume from NetflixLove, death + robotsDifferent accounts have reportedly been treated with different episode orders, possibly identifying certain short films that are affecting audience reception. This enabled Netflix to assess the bingeability model of the uniquely curated program. It is also likely that collecting data on whether 18 shorts for a single season is considered an excessive / necessary endeavor (based on who saw how many and who wore off after just a handful). The second season of the streaming platformHeavy metal”Magazine-inspired science fiction anthology (executive produced by Tim Miller and David Fincher) reduces the number of episodes this time to just eight short films (eight more are planned for the third volume of the series, which is already illuminated in green). This enables more complete, imaginatively rendered visions that highlight the latest aesthetic innovations in modern animation. Unfortunately, this also means fewer animation styles and a lot less to chew on (less nude ladies too, which will be a big plus or minus depending on who you ask).
“Love Death + Robots”: David Fincher & Tim Miller present a wonderfully gratuitous breath of fresh air [Review]
The first volume in the series was far from perfect, but without apology it dedicated itself to what it was; drips and oozes with a myriad of purposeful graphical representations and transporting genre ideas – some are so stupid they’d make your head spin what exactly it was about. Not to say that Volume 2 is not a worthy successor to the first 18 short films, but rather an overall creative disappointment given the length of time between seasons and the series’ off-center sandbox potential. The eight new stories run for less than two hours, which makes it feel no different than an extremely observable genre exercise / random movie that you press to fall asleep, such as the recently released “Stowaway. ”
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Avoid a larger selection of expressive experiments in favor of tighter and often safer narrative frameworks – most directly based on SF short stories from classics such as Harlan Ellison to contemporaries like Paolo Bacigalupi – Every episode is remarkably flawless and polished. Still, three of the stories come from the same animation studio (Blur Studios). While the sums of their parts are far more than the best looking in the world “Gears of war“Cutscenes” have started to fall into the “same feeling of steamy content” category, which goes against the concept of conceptual appeal of the show. The best looking episode “Pop Squad”(Headed by Jennifer Yuh Nelson) looks like an eerie cross between “seven” and “Blade runner: 2049, ”And yet compositionally, two visual masters combine like Roger Deakins and Darius Khondji leads to a standard moral compass rotting detective story.
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Sometimes (as in the short “Life Hutch”), You could be sure that you are blinking heavily Michael B. Jordan isn’t actually on your TV, but it seems animation still has some hurdles to overcome when it comes to voice-over work. There are often significant differences between artistic rendering and lip-syncing, which can be a significant distraction after viewing a fairly dialogue-free narrative stretch. The second short film miraculously juxtaposes scale and perspective. “ice, “Is the standout feature from an animation standpoint, starting like an arctic set, Phil Hester Horror comic and transform into a “Tron legacy“-Lite hunt across a frozen body of water; It’s the next season when it’s about creating an equivalent to Volume 1.”Zima Blue”(Both shorts are headed by Robert Valley).
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Similarly, one of Volume 2’s strongest outings is the opener. “Automated customer service, “Courtesy of the mind of a brilliant satirist John Scalzi (if you are a “Trek” fan and have not read his award-winning novel)Redshirts,“Stop what you’re doing and get a copy.” Similar to last seasonWhen the yogurt took over“It’s deceptively youthful in its crazy, jubilant approach and makes for a wonderfully stupid exercise in comedic escalation. In contrast, by booking the new series of shorts with its most melancholy episode:”The drowned giant”(Directed by Miller) Volume 2 plays more like a curated collection of stories than some strange comic book anthology (not necessarily a bad thing, just on a simpler wavelength than expected).
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Most stories are about mortality, technological malfunction, or a combination of both. Most of them have more of an atmosphere Shyamalan/.Spielberg Taste this time (especially the episode “Long grass”). Fortunately, only one is a real stinker (and luckily the shortest of them all), but a few come out as recycled versions of time-tested tropes. It’s hard to get your shorts not to feel obligated.extraterrestrial“or”Jurassic Park“You are aiming for that box of influence, but when does aesthetic tribute become completely meaningless? In today’s landscape of infinite content production, this question is becoming more and more common.
Although the narrative reach and exploratory curiosity have waned, “Love, Death + Robots” is still an extremely entertaining, if very, very short watch. Ideally, the third volume will find a meeting point somewhere between the two different stories. The short story customization approach can certainly work, but given the medium Miller and Co. play in, a slightly more sensory animated eye candy would better make the series stand out from its audience. [B/B-]