I got drunk and watched most of this over the course of a single evening, then the rest in bed hungover the next morning. It’ll explain why I spent a lot of it in tears moaning about how hard life is for poor Retsuko who never did nothing wrong.
I guess the experience of watching this film might be just about as overwhelming as watching one of the concerts. Yet at least the audience there would have had the benefit of context to experience it within.
We’ve all watched those Boston Dynamics videos haven’t we? When the robot uprising happens Imma go quisling so fast.
Sorry, but I kinda loved this one.
Smithereens is overlong, tiresome, and I’d say meandering but like its hero it reaches a destination within half an hour and just sits in place waiting for something dramatic to happen. And then it does and it’s not worth the wait at all.
It’s easier sharing a body when the one you’re offering isn’t really yours. I’ve known this ever since I was a fourteen, pretending to be an adult woman to have cybersex on anonymous websites. Back when the internet was slow and those spaces still felt illicit folks were less picky about confirmation. I think they mostly liked being found desirable.
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.
