The contempt that some viewers and even film journalists have for Netflix as an audiovisual content platform is incomprehensible. His revolution streaming peace, something for which we should be grateful. And, by the way, gave us such wonderful series as House of cards (2013-2018) or Dark (2017-2020); in addition to such interesting proposals as Love, death and robots (since 2019).
An anthology of animated shorts created by an American Tim Miller, the first two volumes of which consist of eighteen and eight stories, respectively, and among which, above all, stand out “The Witness” (1×03) by Alberto Mielgo (2019) and “The Pop Squad” (2×03) by Jennifer Yuh. (2021), thanks for the good level; and because its very difference from what we usually meet as something that piques the curiosity of most cinephiles.
The third volume returns to give another group of directors a chance to shine in their style. But some repeat for their achievements. And to begin with, we are given “Three Robots: Exit Strategies” (3×01), directed by Patrick Osborne (2022). It is a sequel to the short film of the same name (1×02) by Victor Maldonado and Alfredo Torres; with more substance due to the details of the apocalyptic situation, but, in short, with less finesse.
David Fincher brings us the best of the third volume of Love, Death and Robots.
David Fincher himself, to whom we owe much, as Seven (one thousand nine hundred and ninety-five) Fight club (1999) or The Curious Case of Benjamin Button (2007) and who is an executive producer Love, death and robotssupervised “Bad Journey” (3×02). Another animation example almost ultra-realistic Last flight of Osiris (2003); but more terrifying and with a stylized composition and excellent string score, the work of Jason Hill.
If most anthology shorts are based on stories written by science fiction writers such as Harlan Ellison or J.G. Ballard, and the previous two correspond to the pairing of John Scalzi and Neil Asher, then the one “The very pulse of the machine” (3×03), compiled by Emily Dean, adapted by Michael Swanwick. His concepts and colorful visual apparatus remind us of the contemplative essence of Fish Night (1×12), with which he can go well.
Joyful madness that Robert Busey and Andy Lyon give us “Night of the Mini Dead” (3×04) this is a fun zombie hecatomb twist we knew from Night of the Living Dead (1968), for Love, death and robotYes Typical layout skills and constant fast movement are very appropriately seasoned with symphonic and choral music, which complements the parodic spirit of the ensemble.
You must follow director Alberto Mielgo
The only nasty surprise a decent Netflix anthology has given us so far is apparently “Kill Team Kill” (3×05); Based on a story by Justin Coates. Not only because of the unexpected drop in the quality of the script, signed by the usual Philip Gelatt, but also because director Jennifer Yuh went from being the best with “Pop Team” to being the most childish; close in its few plot motifs to “Sucker of Souls” (1×05), but below acceptable.
Consequently, “Roy” (3×06) It’s light years away from the work of Tim Miller himself when he translated Bruce Sterling’s story into hyper-realistic animation. This short film combines the beauty of the space environment, the wonders of aliens and their world, and the horror associated with them. As in “Beyond the Aquila Rift” (1×07). But if in the last closing was quite natural, here there is an unpleasant feeling that another auction would be appropriate.
AT “Mason’s Rats” (3×07)written by Carlos Stevens, we find a more cartoonish character design and an enjoyable anecdote with the not unbearable gore we’re used to. Love, death and robots; and a final twist from Neil Asher. Then Jerome Chen insists on ultra-realism, bringing to the small screen text by Alan Baxter with spectacular Lovecraftian horror and touches of Clive Barker, in “In Buried Vaulted Halls” (3×08).
Finally, Alberto Mielgo insists on showing after Witness that you should follow his film career in or out of animation if he decides to experiment there, with eccentric beauty. “Jibaro” (3х09). It has his personal style, and he is the most unusual of Love, death and robots; and, no doubt, the perfect short film to complete the third volume, to leave a mark on our emotional memory as viewers.
Source: Hiper Textual
