During its first two seasons, Love, Death and Robots He made a name for itself by offering countless animated shorts covering science fiction and horror – sometimes both at the same time. It was bloody and visceral but also often uneven. For every clever article on the nature of humanity, there was a bloody, shocking jungle and a few other things. but with Volume 3arguably the strongest group to date: nine short species with no weak link between them.
Perhaps the most impressive thing about Season 3 is how versatile the shorts are, which range from seven to 21 minutes. My favorite is Emily Dean’s “The Very Pulse of the Machine,” which follows an astronaut stranded on Jupiter’s moon Io. As she drags the corpse of her slain fellow to safety through a desolate area, she begins to hallucinate…maybe. It could be the drugs that keep her alive, or it could be MöbiusAn inspiring planet speaks to her directly. Whatever it is, it’s great to watch and it ends on a special poetic tone.
Other highlights include David Fincher’s “Bad Traveling,” the horrific story about a group of sailors who encounter a hungry giant crab that forces them to re-evaluate their priorities. It is noteworthy not only for its moral dilemmas but also for the terrifying realism with which it renders its monsters and entrails. It’s the stuff of nightmares. Likewise, Alberto Mielgo’s “Jibaro” is a terrifying vision in which a deaf knight watches his entire platoon being killed by a golden siren before the two squares begin a confused and silent battle. “Swarm” imagines what would happen if humans attempted to enslave a peaceful race of alien insects. Spoiler: It’s not going well.
Perhaps the most impressive thing about volume 3 of Love, Death and Robots is that even seemingly generic stories seem interesting. The zombie short film – “Night of the Mini Dead” by Robert Pesci and Andy Lyon – takes a comprehensive view of the undead apocalypse, presenting a fast-paced version of the events in a style that makes it seem like StarCraft Role. It’s almost like a time-lapse from our demise at the hands of zombies. Then there are two stories that start with a group of armed soldiers exploring some mountains – but the two go in very different directions. Directed by Jennifer Yeoh Nelson, ‘Kill Team Kill’ is a delightfully gruesome fight with a mecha bear, while ‘In Vaulted Halls Entombed’ by Jerome Chen begins. Call of duty before turning into back.
Volume 3 adds continuity to the anthology series with the return of the three robots, who travel back through the remnants of humanity to try and figure out who we were in “Exit Strategies,” directed by Patrick Osborne. This time, they’re focusing on our horrific shelters, from hardcore survival camps and modified oil tankers to tech billionaire playgrounds to underground bunkers for the political elite. It’s bleak, funny, and ends with the important realization that “humans really are the worst.”
There is not necessarily a dividing line connecting the nine films other than the fact that they are all animated shorts that explore science fiction and horror. Some have a lot of blood and some have deep reflections on the future of humanity – and some have both. But this connective tissue is not really necessary here when both shorts are special and interesting. Yes, you get a lot of death and robots (and a little love). But the main advantage of Volume 3 is that, well, there’s no standout: There are nine premium-type flicks that all feel very different from one another. Humanity may be the worst, but at least we can make some pretty cool stuff.
Size 3 of Love, Death and Robots Streaming on Netflix now.