Love, Death and Robots

Tim Miller and David Fincher's "mature, messed-up" Netflix animated anthology returns for volume 3. We break down the nine new shorts and analyze each one's ...

Does it work? Does it work? It also contains basically no dialogue. But the real evil they must confront is an elder god of ancient and terrifying power. Toward the end, there is a formidable mountain of rat corpses. The plot is strong, the sort of short story you read in an anthology that haunts you for some time afterward. However, if that sort of Adult Swim-esque crude humor is your jam, then “Kill Team Kill” is a gory good time, super macho to the point of hilarious parody. The Special Ops team discovers that the platoon they’re supposed to meet up with has been literally ripped to shreds, and it only gets more dire from there. This short definitely leans on Age of Sail technology, even though it takes place on a distant planet. The kicker at the end of this one is basically the same as the one in the first short, but somehow more hilarious. The fall of mankind is actually comedic. Season 3 follows in the footsteps of season 2, keeping the individual shorts shorter and snappier.

The Oscar-winning 'The Windshield Wiper' director returns to Netflix's iconic animated anthology with another short, 'Jibaro,' about a bloody, ...

And those are the things I wanted to put in the film because you can then transmit to the audience that feeling of stress.” In real life, when you are in the middle of some sort of action or some fight, it is very difficult to focus. But I wanted to push technology and push these visuals and push the artwork to the limit. “I like to make the audience feel like you are actually there and maybe holding the camera yourself. I like when you don't know who is the real good person and who is the bad guy. He adds, “Also, in terms of action, I really like when the camera is also exhausted. “We use and we choose people for a completely wrong reason. “What I want the audience to understand is that this is a film that is not about heroes,” says Mielgo, fresh from taking Oscar earlier this year for his animated short film, The Windshield Wiper, a story about a man who searches for the answer behind "What is Love?" “None of our characters here are heroes. While the rest of the men die in a bloody massacre after the siren’s screams cause them all to go mad, the gold-stealing Knight escapes, which piques the interest of the siren, who decides she must have him for herself. After the murderer tracks down the woman through her place of work - an erotic night club - he follows her back to her apartment, where she ends up murdering him, only to discover she too was witnessed by a man identical to her victim. And Jibaro is also talking about a relationship that is extremely toxic; about a relationship between predators that is sensual because it’s based on the attraction to each other for the wrong reasons. The latest volume is again executive produced by Tim Miller (Deadpool, Terminator: Dark Fate) and David Fincher (Mindhunter, Mank), who each also direct one of the new films, with Jennifer Yuh Nelson (Kung Fu Panda 2 and 3) serving as supervising director, as well as directing one of the shorts herself.

The third season of Love, Death and Robots, an animated anthology of science fiction and horror shorts, is streaming now on Netflix.

Yes, you get lots of death and robots (and a little love). But the main standout of volume 3 is that, well, there isn’t a standout: here are nine excellent genre flicks that all feel very different from one other. It’s grim and hilarious and ends on the important realization that “humans are the actual worst.” There isn’t necessarily a through line connecting the nine films beyond the fact that they’re all animated shorts that explore sci-fi and horror. “Kill Team Kill,” from director Jennifer Yuh Nelson, is a gleefully grotesque battle with a mecha bear, while “In Vaulted Halls Entombed,” directed by Jerome Chen, starts out very Call of Duty before turning into Returnal. It’s almost like a timelapse of our demise at the hands of zombies. Perhaps the most impressive thing about the third season is how varied the shorts are, which range from seven to 21 minutes long.

Overseen by David Fincher and Tim Miller, Love, Death & Robots returns for a third season of social commentary, dark humor, and sharply-rendered visuals.

But as XBOT 4000, Gary Anthony Wiliams of Whose Line Is It Anyway? and a wealth of voice roles keeps the robot crew together with humor and a flair for social comment. Love, Death & Robots is full of rich imagination, smart details, and a refreshing lack of restraint, in both its visuals and language. “I wonder who made it out?” the robots had asked back on Earth, and the answer is not one of our society’s usual suspect UHNWI’s. Love, Death & Robots (Netflix) returns for a third season of animation across the spectrum, lots of swearing, gore, and sex, and under-20-minute platforms for directors to really go off. What Shows Will It Remind You Of? If NSFW animation is your game, Netflix also features America: The Motion Picture, a potty mouthed, ahistorical riff on the nation’s founding that features the voice talents of Channing Tatum, Jason Mantzoukis, and Olivia Munn, amongst many others. And while each story is a standalone, there are thematic links in the chain.

Love, Death + Robots Season 3 review - another high-quality, visually stunning volume. Review is spoiler-free.

The premise behind Love, Death + Robots is basically a free-for-all; a blank canvas – and seemingly blank check – for artists and animators to tell all kinds of interesting and provocative stories. Practically all of these episodes run less than 20 minutes, which is an extraordinary accomplishment given how much narrative ground they cover and how much they’re able to achieve, especially visually. This review of Love, Death + Robots Season 3 is spoiler-free.