Love, Death & Robots TV-Show Review 2019 Cast Crew
Good wasted ideas tend to be more desperate than any other idea. Such is the case of Tim Miller and David Fincher's animated short film series, "Love, Death & Robots," a project conceived with broad ambition and executed with a maddeningly narrow perspective. As animators from around the world joined 18 independent stories of different self-determined lengths, the Netflix offering aims to be a "global celebration" of the exchange, as Miller said during the opening statements of its premiere at SXSW. While there is much to admire in the visuals, each distinct from its episode, with an attractive range of styles on display, the stories themselves are treated as a late occurrence, and that tinges everything with an ugly shade of gray.
Only one third of the first season was screened in Austin on Saturday night, but the chosen entries shared enough unwanted aspects to discourage viewing. On the one hand, all the shorts (Fincher does not want to be called episodes) are hyper-masculine to the point of being chilling; Five of the six include shots of a woman's naked breast. Some of these women were alive, others were dead and others were not women at all, but each instance feels more free than justified, and combined with the violence, gore and the disturbing admiration of both, it gives the series a quality of sophistication. .
Review of 'Love, Death & Robots': the Netflix shorts by David Fincher and Tim Miller are a one-dimensional beauty.Too often, hyper-masculine and half-baked, the Netflix series offers different visual styles without enough substance.
Good wasted ideas tend to be more desperate than any other idea. Such is the case of Tim Miller and David Fincher's animated short film series, "Love, Death & Robots," a project conceived with broad ambition and executed with a maddeningly narrow perspective. As animators from around the world joined 18 independent stories of different self-determined lengths, the Netflix offering aims to be a "global celebration" of the exchange, as Miller said during the opening statements of its premiere at SXSW. While there is much to admire in the visuals, each distinct from its episode, with an attractive range of styles on display, the stories themselves are treated as a late occurrence, and that tinges everything with an ugly shade of gray.
Only one third of the first season was screened in Austin on Saturday night, but the chosen entries shared enough unwanted aspects to discourage viewing. On the one hand, all the shorts (Fincher does not want to be called episodes) are hyper-masculine to the point of being chilling; Five of the six include shots of a woman's naked breast. Some of these women were alive, others were dead and others were not women at all, but each instance feels more free than justified, and combined with the violence, gore and the disturbing admiration of both, it gives the series a quality of sophistication. .
Consider "The witness." His story is very simple: a woman sees her neighbor on the other side of the street attacking and brutally killing a woman. She panics, runs, and he follows her. The whole short film is a chase and the end is expected, but it works well enough. What you see between them looks great: small words like "¡bam!" And "collide!" Highlight the search, while the lines of objects and buildings change from time to time to imply that everything might not be as It seems, but the visual The style is opaque. Other options This woman is an exotic dancer in a strange club full of leather-clad dominatrixes and a couch that works like a stripper stick. When she leaves home, she goes to work and her manager scolds her for acting, even though she is running from a murderer. She then goes through all her routine before the chase can begin again, and ends the last half of the episode in an open bathrobe, which opens to show her naked body with each step.
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Love, Death & Robots TV-Show Review 2019 Cast Crew