Wow, it took fifteen years but we finally get another episode of Jackie Chan Adventures. The gratuitous swearing and unnecessary penis were a strange addition though. Sucker of souls war directed by Owen Sullivan from a script by Philip Gellat. This review will contain spoilers.
The area in which the fourth short of Netflix’s Love, Death & Robots series is sorely lacking is originality. Everyday folks jump in their power-loaders to fight an oncoming swarm of snarling insectile beasties, followed up at the rear by one very big beastie. After the fight is done, those remaining alive relax wary of the storm clouds beginning to form again on the horizon.
Sorry that this one’s coming up late, watching this short film made me reconsider if going through all of these would even be worth it. I’m tired, I’ve really got other pressing things to do, and unless something is out and out reprehensible I don’t really like bringing negativity to the page. I prefer to be excited about things I love. This short film was written and directed by Alberto Mielgo.
Today sees the second instalment on our series reviewing the shorts of Love, Death & Robots. I’ve decided to put the writing and directorial credits up top as it’s probably best to keep an eye throughout the run. Three Robots is directed by Victor Maldonado & Alfredo Torres from a script by Philip Gelatt.
The next week is looking pretty sparse as far as films go so I’ll be throwing up reviews of the new animated Netflix anthology series from producers David Fincher and Tim Miller Love, Death & Robots. The shorts themselves are only like 10-15 minutes in length so it’s probably best you watch before reading, I’ll try my best but will usually end up being pretty loose with spoilers. Enjoy.
It’s hard to argue with someone when they believe themselves to be a good person. Most people do I guess, but there’s some specific sort who believes that their success, or maybe their suffering — or any part of themselves they deem to be immutable — is what makes them virtuous. Maggie Gyllenhaal is The Kindergarten Teacher and she wears her vocation like a cross around her neck, returning to her New York suburb house in the evenings to a vacant husband, asshole kids, and a glass of wine.
So, Eva Melander’s Tina is a woman with this facial deformity who works customs in small Swedish port town, she displays the uncanny ability to literally sniff out those who come off the ferry smuggling contraband. When someone born with the same condition as her disembarks and volunteers to be searched, all of a sudden she doesn’t know for the first time what to make of someone. It’s an initial touch of charming magical realism. We see this woman hurry between her ailing father; a boyfriend that takes advantage of her; a world that discards her for her appearance — secure in the knowledge that, at least in her unappreciated vocation, she’s the fucking best.