Over its first two seasons, Love, Loss of life and Robots has made good on its identify by providing myriad animated shorts spanning sci-fi and horror — and sometimes each on the identical time. It’s been bloody and visceral but additionally regularly uneven. For each good treatise in regards to the nature of humanity, there was a gorefest that was bloody and stunning and little else. However with volume 3, we get arguably the strongest assortment but: 9 style shorts with out a weak hyperlink amongst them.

Maybe essentially the most spectacular factor in regards to the third season is how various the shorts, which vary from seven to 21 minutes lengthy, are. My private favourite is The Very Pulse of the Machine, directed by Emily Dean, which follows an astronaut stranded on Jupiter’s moon Io. As she drags the corpse of a lifeless colleague again to security by a desolate panorama, she begins hallucinating… in all probability. It may very well be the medication conserving her alive, or it may very well be the Moebius-inspired planet talking on to her. No matter it’s, it’s beautiful to look at and ends on a very poetic be aware.

Different highlights embrace David Fincher’s Unhealthy Travelling, a horrifying story of a bunch of sailors accosted by a huge hungry crab who forces them to reevaluate their priorities. It’s notable not only for its ethical dilemmas but additionally the terrifying realism with which it renders its monsters and viscera. It’s the stuff of nightmares. Equally, Jibaro, from director Alberto Mielgo, is a terrifying imaginative and prescient by which a deaf knight watches his complete platoon be killed by a golden siren earlier than the 2 sq. off in a disorienting, wordless battle. Swarm imagines what would occur if people tried to enslave a peaceable race of alien bugs. Spoiler: it doesn’t go properly.

Maybe essentially the most spectacular factor about quantity three of Love, Loss of life and Robots is that even the seemingly generic tales grow to be attention-grabbing. The token zombie brief — Evening of the Mini Lifeless, directed by Robert Bisi and Andy Lyon — takes a hen’s eye view of an undead apocalypse, displaying a sped-up model of occasions with an lovable artwork type that makes it appear like a StarCraft spinoff. It’s nearly like a timelapse of our demise by the hands of zombies. After which there are two tales that start with a bunch of gun-toting troopers exploring some mountains — however the two go in very totally different instructions. Kill Crew Kill, from director Jennifer Yuh Nelson, is a gleefully grotesque battle with a mecha bear, whereas In Vaulted Halls Entombed, directed by Jerome Chen, begins out very Name of Obligation earlier than turning into Returnal.

Quantity three even provides continuity to the anthology sequence with the return of the three robots, who’re as soon as once more touring by the remnants of humanity to attempt to study who we have been in Exit Methods, directed by Patrick Osborne. This time, they’re centered on our apocalyptic shelters, from hardcore survivalist camps and oil tankers retrofitted to tech billionaire playgrounds to underground bunkers for the political elite. It’s grim and hilarious and ends on the vital realization that “people are the precise worst.”

There isn’t essentially a by line connecting the 9 movies past the truth that they’re all animated shorts that discover sci-fi and horror. Some have a lot of blood and a few are deep contemplations of the way forward for humanity — and a few have each. However that connective tissue isn’t actually vital right here when every of the shorts is so distinct and attention-grabbing. Sure, you get a lot of loss of life and robots (and somewhat love). However the principle standout of quantity three is that, properly, there isn’t a standout: listed here are 9 glorious style flicks that each one really feel very totally different from one different. Humanity often is the worst, however at the least we will make some cool stuff.

Quantity 3 of Love, Loss of life and Robots is streaming on Netflix now.


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