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The Witness [Love Death and Robots] (Alin Ma)
Why is there nothing of her? [Love & Death + Robots] (The Witness)
This anthology of hard sci-fi shorts could be renamed ‘Sex, Death and Future-Shocked Irony’ — and needs to start favoring quality over quantity
A scene from 'Good Hunting,' one of the short films in Netflix's sci-fi anthology 'Love, Death + Robots.'
In fact, the worst installments feel like the show is simply hitting every lowest common denominator for the Comic-Con demographic and turning the volume up to 11. Both “Sonnie’s Edge,” about psychics who engage in Lovecraft-monster cockfights, and “The Witness,” about a
Then there’s the one-two punch of the class clowns of the bunch, “When the Yogurt Took Over” and “Alternate Histories.” The former turns a story by Hugo-winning author John Scalzi about sentient dairy products lapping us humans in intellectual capacity — they’re willing to solve all of our economic woes in six months, they just want the state of Ohio — into a brisk, bleak metaphor about the crumbling of a sociopolitical foundation. The latter is a first-season MVP that introduces a mock educational tool running through alt-universe scenarios; in this case, it’s six different timelines involving Hitler’s death, ranging from “killed by runaway horse-drawn wagon filled with bratwurst” to “killed by marathon fornication.” No matter what the scenario, however, WWI still happens, Europe and America are still mired in turmoil and someone — Neil Armstrong, Vladimir Putin, a Viennese prostitute, a squid — lands on the moon. Both are under eight minutes. Both land beautifully.
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“Love, Death & Robots”
Good ideas wasted are often more infuriating than no idea at all. Such is the case with Tim Miller and David Fincher’s series of animated short films, “Love, Death & Robots,” a project conceived with broad ambition and executed with a maddeningly narrow perspective. Uniting animators from around the world for 18 standalone stories of various self-determined lengths, the
“Love, Death & Robots”
