During the first two seasons, love, death and robots It made a name for itself by offering countless animated shorts spanning sci-fi and horror, and sometimes both. It’s gory and visceral, but also often unbalanced. For every clever treatise on the nature of human beings, there is a bloody and shocking bloody feast, and that’s it.But with Volume 3arguably the strongest series to date: nine types of short films with no weak links between them.
Perhaps the most impressive aspect of season three is the variety of short films, ranging from 7 to 21 minutes.My personal favorite is the pulse of the machine, directed by Emily Dean, tells the story of an astronaut stranded on Jupiter’s moon Io. As she drags the body of a dead colleague back to safety through the desolate landscape, she begins to hallucinate…probably.It could be the drugs that kept her alive, or it could be Moebius– Inspiration Planet talk to her directly. Whatever it is, it’s gorgeous and ends on a particularly poetic note.
Other highlights include David Fincher’s bad trip, a horrific story of a group of sailors who are accosted by a giant hungry crab, forcing them to reassess their priorities. Not only is it notable for its moral dilemmas, but also for the horrific realism with which it depicts monsters and internal organs. This is the stuff of nightmares. Similarly, JibarangDirected by director Alberto Mielgo, it’s a horrific sight as a deaf knight watches his entire platoon get killed by golden sirens before the two are disoriented and speechless. fight in the battle. group Imagine what would happen if humans tried to enslave a peaceful alien zerg. Spoiler: It’s not going well.
Perhaps the most impressive part of the third volume love, death and robots It is that even a seemingly ordinary story becomes interesting. Token Zombie Short – Mini Undead Nightdirected by Robert Busey and Andy Lyons – Bird’s Eye View of the Undead Armageddon, shows an accelerated version of the events in a lovely art style that makes it look like a Starcraft get rid of. It’s almost like a time-lapse of our demise at the hands of zombies. Then there are two stories that start with a group of soldiers with guns exploring some mountains – but both go in very different directions. kill teamfrom director Jennifer Yuh Nelson, is a hilariously grotesque battle with mech bears, while In the vaulted hall of the burial, Directed by Jerome Chen, it begins very call-of-duty before becoming return the goods.
The third volume even adds to the continuity of the anthology series, the return of the three robots who once again travel through the remnants of humanity in an attempt to understand who we are exit strategy, directed by Patrick Osborn. This time, they’re focusing on our apocalyptic sanctuaries, from diehard survivor camps and converted oil tankers to tech billionaire playgrounds to underground bunkers for the political elite. It’s grim and hilarious, and ends with the important realization that “humans are actually the worst.”
Apart from the fact that they are all animated shorts exploring sci-fi and horror, there isn’t necessarily a single thread connecting the nine films. Some have a lot of blood, some have deep thoughts about the future of humanity – and some have both. But that connective tissue isn’t really necessary here when every pair of shorts is so unique and interesting. Yes, you get a lot of death and robots (and a little love). But the main standout of the third volume is that none of it stands out: here are nine excellent genre films, all of which have a very different feel. Humans are probably the worst, but at least we can make some cool stuff.
Volume 3 love, death and robots Now streaming on Netflix.