I guess this kinda represents an anticlimax then, the last episode isn’t the show’s worst or its best. It hangs somewhere around the middle, barely managing to escape the fog of mediocrity that it is mired in. Maybe i’m just exhausted, Netflix has just uploaded Neon Genesis: Evangelion and I kinda just wanna get this over with.
Okay, this one is an extended six riffs on the same joke none of which are funny. Like, oh my god it’s so fucking bad.
Mary Elizabeth Winstead and Topher Grace are between them charming enough to make me almost forget that this is a live action adaptation of a Treehouse of Horror segment. Yeah, I guess when series creator Tim Miller gets to make his own episode and can call in his famous friends the format gets to be broken a little.
After one episode that just about pushed enough past the realm of ‘okay’ that I actually struggled to write about it, Love, Death & Robots returns back to its core content. Execrable garbage.
I was watching and then reviewing all of these a while ago but had to stop here because it broke me. It’s the first one of these shorts to actually be good, and I didn’t quite know how to deal with that.
I’m not sure why the relationship between a space fighter pilot and her craft exudes a strong sapphic energy but it totally does. I mean, maybe because Samira Wiley (who lends her face and voice to a mocapped performance) is openly queer. Or because my twitter feed the past month has been a constant stream of Carol Danvers fanart. Or because people give their vehicles female names and pronouns.
I don’t think many of these films have great titles, but Fish Night may be the most blandly descriptive of the bunch. Fitting for a idea that comprises a lovely visual concept with very little to back it up and honestly, lines as ham-fisted as ‘Dead as our sales were last week.’ ensure that the visual splendour… Continue reading Love, Death & Robots: ‘Fish Night’ Review
We all loved Gravity didn’t we? We all loved 127 Hours? (Though I think we might have forgotten that one.) Like a lot of these damn things, Helping Hand steals the most surface-y elements of the two without actually taking into consideration why. I needn’t explain the plot, if you have literally any idea at all about those two films, you’d be able to write it yourself.
This joint has a score ripped from a 2007 era video game and an a look to match. Afghanistan. I’m sure there’s plenty of original material left to be dredged up from the war there, but Shape-Shifters, the first of this series to care to contextualise its action within a specific culture, does not. It tells a thin story about werewolves and revenge. I’d honestly reckon your average 2007 video game would be a step up.
Maybe The Dump is an articulation of the philosophy of this entire series. Everything has in it the potential to be trash, so why bother with respectability? Why not just lean into being garbage and allow yourself to become so repellent that anyone with taste will just leave you be.