The third installment of the well-known animated series brings up points and, in the latest installment, offers the most balanced anthology of visual pieces of all. We recommend the pieces from best to worst, but they are all great
Watching the nine episodes of the latest installment of the anthology “Love, Death & Robots” one by one, as in the previous releases, makes less sense than ever if interpreted as a list from good to bad. All short films are powerful, with which the assignment represents a greater or lesser importance of the pieces in an instant, digestible in one go. We are faced with the most balanced batch of the project, the broad title of which welcomes just about any science fiction story or one that contains violence. The robots come out from time to time, death always and love, sometimes. In fact, the amount of hemoglobin multiplies notably compared to the previous batches of the series, more restrained and less cautious on issues such as the gender perspective. Let’s not forget that David Fincher and Tim Miller are behind this original initiative whose production is thanks to Netflix. The compendium contains cartoons in classic style with more current trends, also focusing on the aesthetic possibilities offered by the development of new technologies. The target is still the adult audience, open-minded, fan of fantasy and futuristic stories.
The best of this third installment of ‘Love, Death & Robots’, directed by David Fincher himself, whose wisdom-telling is clear. A macabre tale of maritime horror, sinister and gore, well done and finished by the work and grace of a well understood and exploited computer graphics. The crew of a floating ship finds themselves in a position to save their skins in exchange for transporting to the mainland a terrible, carnivorous monster, a giant crab that destroys everything in its path, with whom they make a terrible pact. The souls, already condemned, do not agree on how to deal with such a bloody case. Violence breaks out and buckets of blood splatter the concept of democracy.
Visually spectacular, this equally stunning piece shows that the advancement of CGI and its virtues can be expressed with originality. Infographic animation breaks away from the aesthetics of video games, as evidenced by this great short film whose characters move as if they were dancing, infected by a captivating sensory choreography. There is eroticism and violence, they intersect, giving rise to a fascinating story in which a peculiar siren attracts a knight in armor, blinded by the glitter of gold. The sound design deserves special attention, as do the sensational scenarios in which the meeting between the protagonists takes place. The talent of Oscar winner Alberto Mielgo is beyond question.
A delight that, with a highly original vision, brings together all imaginable references to zombie films. Black humor is at home in this sequence of prints, as models, gracefully depicting the spread of the virus that turns people into the living dead. Miniature horror, perfect to relieve the harshness of other pieces. Long live the irony!
A delight that perfectly recalls the comics of the immense Moebius, master of the ninth art. The visual, lysergic, is clear, with a striking palette of complementary colors. Lovers of 80s sci-fi comics, magazines like ‘Zone 84’ and the school of ‘Metal Hurlant’ will especially enjoy this space journey to the brink of death. After an accident on a lost planet, an astronaut desperately tries to survive.
‘Aliens’ and Lovecraft go hand in hand in this visually appealing piece that does not shy away from showing wide shots, something unusual in this type of animation. The atmosphere is very successful and the resolution of the story is more than acceptable, something that doesn’t always happen in the world of short films. A rescue team enters a strange cave to rescue a hostage. What they find inside, when darkness surrounds them, is very different from what they expected.
A hilarious fable packed with scenes of explicit violence that clash with the stories of a lifetime. Seeing rats being exterminated by an insane butcher robot leads to something unexpected. A farmer decides to hire a new pest control company to try and rid his barn of unwanted animals. Again, a technological advancement ruins it, as in ‘Black Mirror’. The war between rodents and the domestic attack Android is an absolute beastly rave. The cartoonish style of the animation helps to digest the brutal show and better understand the message. Eye, the script is signed by the writer of fantasy novels Joe Abercrombie.
Sequel to a previous piece in the series, featured in the first episode of the featured series. Underline the message with a final joke that will make you laugh out loud more than once. Humans are doomed to disappear, we deserve more than our own extinction. The three robots from the title are responsible for giving a warning from fiction, looking at the different phases of a possible apocalypse. There’s sarcasm and some bad grapes.
Just as in previous seasons the CGI sang too much and immediately set off an alarm on the retina, this part has a more cautious image and a significant improvement in the expressiveness of the characters. This tale of giant slimy insects may be reminiscent of “Avatar” in appearance. Get bad vibes in some passages, especially the last part. Two people live together in a starry sky with some critters with unpredictable behavior. Tim Miller, creator of “Love, Death & Robots,” directs.
An old-fashioned animated entertainment, with a slightly kaffee sense of humor, with big jokes and lots of splashes. A commando goes into the jungle on a suicide mission. The group of mercenaries encounter a giant robot bear that is impossible to take down. By joining forces, armed to the teeth, they will try to put an end to the evil beast. The animal in question is a weapon of unstoppable destruction, the result of a failed war experiment. The man who plays God grabs his hands again. The mutilations are remarkable in a bloody feast with the smell of cartoon adventures of the past. It may be the least original of the bunch, but it looks gibberish.
Source: La Verdad
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