An anthology of anthologies
In the program for this third session, another clumsy satire, ending with a bonus reference to Elon Musk, a psychotropic lunar trip, an invasion of express zombies, another face-to-face between with some spooks and an animal terminator. , the terrifying exploration of an alien colony, rodent warfare, and not one, but two Lovecraftian tales. A frankly generous catalog of science fictionthat we lost hope of seeing each other again Love, Death and Robot.
Because even though, despite its flaws, season 1 was ambitious and surprisingly enough to win support, the limitations of the series show up very quickly. At the narrative level, many features, real visual demonstrations, are very lacking in substance, if they don’t always recycle the same recipe, based on soldiers under the amphete and creatures in need of fresh unod. Blame it on the deadlines given in red N and the technical complexity of the whole thing.
A war machine
An inevitable observation after season 2, chained to meaningless and often forgettable sketches. The format owes it all to the number of episodes and their quality, which is its strength and weakness when the production speed imposed by Netflix prohibits copying the size of season 1. Fortunately, even though it’s almost a period longer than last season, the third batch will almost certainly find ambition in the big hours of the series. Not only because the chapters are usually of better quality, but also because they are more heterogeneous.
Of course, there are new fights with the marines -at this stage, almost a mark -, in stages 5 and 8. But the directing artists exercise pure horror as uncontrollable action, conceptual humor as reflection, even metaphysical fresco. Even better, got into the choice of one or two UFOs, as in the final stage, in which the artistic direction falls either from genius, or from the most obvious bad taste, with choice. Whether or not we follow the thing, it’s hard to take away its originality.
A mermaid for the less expressive
Aesthetically, CGIs are almost always in the spotlight. However, they have little view of demonstrative hyperrealism to better marry the developed aesthetic universes, as evidenced by the atypical character design of the features. bad trip and Mason’s Rats. Not surprisingly, this is once again surprising at a level of technology alone, even if some artistic options hurt the party, even if it means, for example, a further decline in interest in the more interesting. the crowd. Always very unique, Love, Death and Robot remains unequaland even better.
Some pure science fiction visions
David and the Goliaths
This new era is likely to attract a much wider audience than usual. And for good reason, it includes an episode signed by acclaimed filmmaker David Fincher, titled bad trip. For his return behind the (virtual) camera, the director of PEOPLE tried his hand at animation for the first time in his career, failing to arouse the curiosity of moviegoers. Some of the editors, not particularly skilled in the medium, rushed this test run when it was posted online, and they did not fail.
In fact, it makes sense that Fincher would partner with Blur Studios, which was founded by series creator Tim Miller. Specializing in ultra-precise digital imagery, he has all the keys to serving the director’s unmistakable perfectionism. Combined with a delicious intimidating artistic direction, the curiosity of this association bore fruit one of the most beautiful animals to be seen on a screen for several years, a giant demon crustacean whose shadow flew over the poor crew of a ship.
In addition to a very interesting sequence of action
Really horrible, the part inevitably recalls the most thrilling aborted projects of the great David as well as the desperate stories of Lovecraft. Like the famous author, an almost godly destruction pushes the heroes to the limits of their humanity and damages the mental health of the viewer in the process. It makes you want to see the guy face the terrible cinema once and for all.
But that wasn’t the only good surprise at the time. We move on to the new part of the trio’s adventures that break open doors or the final stage, (also) a high sensory experiment whose value will all be judged. Some sketches are not stingy in action (Come on, fire!dumb like the moon, but fun) or sad (In the darkness of the abyssnot very original, but full of guts). The funniest of them probably remains Mason’s Ratshumble comedy that exacerbates the hyperbole of the madness of the escalation of the war.
We have to save the rat soldier Yann
In the comedy department, it’s impossible not to mention Night of the Living Deaddouble penalty: placed after Fincher’s part, Jeff wrote it “guilty of sonic »Fowler. Against all odds, this little pellet a good zombie parodytaking advantage of Blur and Buck’s skill to retrace an invasion of the undead in general, not without a pastiche of genre codes.
The idea is fun, the little valves scattered here and there ensure the flow. We pray that the series will continue to offer us these kinds of searches, or even that it will continue to hire great writers, whether they are producers or not, just to inject a little bit of madness into these technical tours of the force. .
Love, Death and Robots will be fully available on Netflix from May 20, 2022.