Love, Death + Robots Season 4 Review: Scary, Silly, and Surreal
Science fiction has become one of television’s most reliable genres and audiences have no shortage of options when it comes to progressive sci-fi storytelling. Anthology series have also never been more popular as they’ve proven to be an easy, noncommittal way to draw in audiences with unrelated, standalone storytelling. Love, Death + Robots has quietly done dependable, delightful work for three seasons, but it’s not just a sci-fi anthology. It’s a challenging animation showcase that goes to brave, impossible places for an anthology series.
Despite the seemingly selective nature of its title, it feels like nothing is off limits in Love, Death + Robots season 4. This season is more playful than ever as it asks the audience to consider technology and eternity through endlessly diverse lenses. This energy is palpable here, with another collection of impressive, intelligent, and unpredictable animated short films.
Love, Death + Robots excels with its original stories, but this season also ambitiously expands upon some of its previously built universes. Jennifer Yuh Nelson’s “Spider Rose” is a masterful follow-up to Volume 3’s “Swarm,” which follows a grieving Mechanist who receives a new companion and another shot at vengeance against the assassins who killed her husband. This is a sequel story that doesn’t just repeat the hits or gratuitously give fans what they want. “Spider Rose” instead finds a fresh, justified angle to return to this world. It’s a surprising yarn about unexpected motherhood as a conflicted character reconsiders everything she thought she knew about herself. Stories like “Spider Rose” challenge the audience and prompt them to change and grow. There’s an emotional throughline to this, but the installment is also rich in chaotic aerial dog fights, ultra gory deaths, and creative, indulgent extremes
The Love, Death + Robots episodes that lean into hard science fiction are often the season’s most gripping installments and the entries that will stick with the audience long after they’ve finished. That being said, there are plenty of installments from this fourth batch that are just unabashedly silly. These may be seen as frivolous stories to some audiences, but they’re a testament to Love, Death + Robots’ versatility and that the trio of topics in its title are universal ideas that everyone can enjoy. In addition to “Can’t Stop,” ABGO’s “The Other Large Thing” and “Smart Appliances, Stupid Owners” from The Aaron Sims Company are some of the more overt examples of comedy this season. They’re a welcome balance for the more nihilistic and dour stories from this season that often hit with a ton of bricks. The successful tonal and genre balance that’s achieved across these 10 episodes takes the audience on a fascinating journey. There’s a little bit of everything here in this passionate sci-fi celebration, including a rare live-action segment.
One of the season’s most entertaining episodes is the truly unhinged Red Hot Chili Pepper-starring “Can’t Stop.” Not only does this episode mark David Fincher’s directorial return to Love, Death + Robots, but through the conduit of his original love: music videos. “Can’t Stop” looks incredible and turns to an effective marionette aesthetic that’s unlike anything that’s previously been in the anthology series. “Can’t Stop” will ultimately find the audience asking not if Fincher could do this, but why he would want to. It’s such a gonzo experiment that simultaneously is the perfect showpiece for why a series like Love, Death + Robots is necessary. You’re not going to get a piece of storytelling like this on Black Mirror.
There’s such a ridiculous, nonsensical energy that governs this short, but it’s also undeniably entertaining and such a fun time. The reason that a series like Love, Death + Robots works is that it makes space for “Can’t Stop” in addition to bleak, dramatic showpieces and action spectacles such as “Spider Rose” and “400 Boys.” Nothing is off limits in this series – this season even incorporates dinosaurs – and this freedom results in remarkable storytelling that’s worth the big swings that get taken, even when they don’t work. “Can’t Stop” is just five silly minutes that aren’t afraid to get weird and indulge in vibes. It also doesn’t hurt that David Fincher is behind this installment, but any chaotic mish-mash music video of this nature is still going to stand out in a series that’s more likely to reference J.G. Ballard and Harlan Ellison than MTV.
Love, Death + Robots is a satisfying exploration of science fiction, but it’s also a series that prides itself in its groundbreaking visuals. Every season of Love, Death + Robots has been visually sumptuous, with these new episodes being no exception. Love, Death + Robots seems to be the proudest of its lush, photorealistic segments, like the work that Blur Studio does in “Spider Rose.” These segments don’t disappoint, but Love, Death + Robots has the most fun when it’s willing to indulge in more ambitious and stylized imagery “For He Can Creep” from Japan’s Polygon Pictures or Passion Animation Studios’ “400 Boys” are especially gorgeous.
The latter of these adopts a really impressionistic visual style that’s reminiscent of The Big O’s Art Deco quality. This complements the supernaturally heightened story that’s being told in a hyperbolized universe where gang warfare and a strict bushido-like code are the norm. Factions fight with psychic, electric powers in a world that feels ripped out of a Stephen King story. “400 Boys” is visually rich, but the art style also thematically resonates with the story’s deeper message. It goes to town with its exaggerated aesthetic and creates some truly gorgeous visuals and landscapes in this broken world. The post-apocalyptic wasteland that it crafts is like The Warriors meets Mad Max meets Escape From New York. Destruction plays out on such a massive scale that looks like gorgeous splash panels from a comic. There are setpieces in which warriors rollerblade under the legs of giant babies that they proceed to hack to bits that feel like they’re inspired by Attack on Titan’s epic battles. It’s the complete opposite style of no-holds-barred gladiatorial combat that gets treated like entertainment in “The Screaming of the Tyrannosaur.”
Love, Death + Robots triumphs with its fourth season, the likes of which prove that there’s still plenty of gas in this tank. If anything, Love, Death + Robots is willing to get even weirder and break some of its older rules for the sake of fresh storytelling. There are few misfires in this season of 10 episodes, although some certainly hit harder than others. It’s appreciated to get this many episodes and that Volume 4 is longer than the two previous seasons. However, it seems increasingly less likely to return to the cornucopia of content that was the 18-episode Volume 1. It’s also worth pointing out that, while the visuals this season remain immaculate, there are only two animation studios from outside of the United States. Love, Death + Robots’ aim has never specifically been to spotlight international animation. That being said, Love, Death + Robots is at its best when there’s a truly eclectic style to each of its installments.
Love, Death + Robots has another win with Volume 4 and hopefully there are more surreal science fiction stories to come. The season begins with the Red Hot Chili Peppers’ Anthony Kiedis singing “Can’t Stop” and by the end of these 10 episodes you’re left hoping that mantra is also true for Love, Death + Robots.
All four volumes of Love, Death + Robots are now streaming on Netflix.
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#love #death #robots #season #review
Love, Death + Robots Season 4 Review: Scary, Silly, and Surreal
Science fiction has become one of television’s most reliable genres and audiences have no shortage of options when it comes to progressive sci-fi storytelling. Anthology series have also never been more popular as they’ve proven to be an easy, noncommittal way to draw in audiences with unrelated, standalone storytelling. Love, Death + Robots has quietly done dependable, delightful work for three seasons, but it’s not just a sci-fi anthology. It’s a challenging animation showcase that goes to brave, impossible places for an anthology series.
Despite the seemingly selective nature of its title, it feels like nothing is off limits in Love, Death + Robots season 4. This season is more playful than ever as it asks the audience to consider technology and eternity through endlessly diverse lenses. This energy is palpable here, with another collection of impressive, intelligent, and unpredictable animated short films.
Love, Death + Robots excels with its original stories, but this season also ambitiously expands upon some of its previously built universes. Jennifer Yuh Nelson’s “Spider Rose” is a masterful follow-up to Volume 3’s “Swarm,” which follows a grieving Mechanist who receives a new companion and another shot at vengeance against the assassins who killed her husband. This is a sequel story that doesn’t just repeat the hits or gratuitously give fans what they want. “Spider Rose” instead finds a fresh, justified angle to return to this world. It’s a surprising yarn about unexpected motherhood as a conflicted character reconsiders everything she thought she knew about herself. Stories like “Spider Rose” challenge the audience and prompt them to change and grow. There’s an emotional throughline to this, but the installment is also rich in chaotic aerial dog fights, ultra gory deaths, and creative, indulgent extremes
The Love, Death + Robots episodes that lean into hard science fiction are often the season’s most gripping installments and the entries that will stick with the audience long after they’ve finished. That being said, there are plenty of installments from this fourth batch that are just unabashedly silly. These may be seen as frivolous stories to some audiences, but they’re a testament to Love, Death + Robots’ versatility and that the trio of topics in its title are universal ideas that everyone can enjoy. In addition to “Can’t Stop,” ABGO’s “The Other Large Thing” and “Smart Appliances, Stupid Owners” from The Aaron Sims Company are some of the more overt examples of comedy this season. They’re a welcome balance for the more nihilistic and dour stories from this season that often hit with a ton of bricks. The successful tonal and genre balance that’s achieved across these 10 episodes takes the audience on a fascinating journey. There’s a little bit of everything here in this passionate sci-fi celebration, including a rare live-action segment.
One of the season’s most entertaining episodes is the truly unhinged Red Hot Chili Pepper-starring “Can’t Stop.” Not only does this episode mark David Fincher’s directorial return to Love, Death + Robots, but through the conduit of his original love: music videos. “Can’t Stop” looks incredible and turns to an effective marionette aesthetic that’s unlike anything that’s previously been in the anthology series. “Can’t Stop” will ultimately find the audience asking not if Fincher could do this, but why he would want to. It’s such a gonzo experiment that simultaneously is the perfect showpiece for why a series like Love, Death + Robots is necessary. You’re not going to get a piece of storytelling like this on Black Mirror.
There’s such a ridiculous, nonsensical energy that governs this short, but it’s also undeniably entertaining and such a fun time. The reason that a series like Love, Death + Robots works is that it makes space for “Can’t Stop” in addition to bleak, dramatic showpieces and action spectacles such as “Spider Rose” and “400 Boys.” Nothing is off limits in this series – this season even incorporates dinosaurs – and this freedom results in remarkable storytelling that’s worth the big swings that get taken, even when they don’t work. “Can’t Stop” is just five silly minutes that aren’t afraid to get weird and indulge in vibes. It also doesn’t hurt that David Fincher is behind this installment, but any chaotic mish-mash music video of this nature is still going to stand out in a series that’s more likely to reference J.G. Ballard and Harlan Ellison than MTV.
Love, Death + Robots is a satisfying exploration of science fiction, but it’s also a series that prides itself in its groundbreaking visuals. Every season of Love, Death + Robots has been visually sumptuous, with these new episodes being no exception. Love, Death + Robots seems to be the proudest of its lush, photorealistic segments, like the work that Blur Studio does in “Spider Rose.” These segments don’t disappoint, but Love, Death + Robots has the most fun when it’s willing to indulge in more ambitious and stylized imagery “For He Can Creep” from Japan’s Polygon Pictures or Passion Animation Studios’ “400 Boys” are especially gorgeous.
The latter of these adopts a really impressionistic visual style that’s reminiscent of The Big O’s Art Deco quality. This complements the supernaturally heightened story that’s being told in a hyperbolized universe where gang warfare and a strict bushido-like code are the norm. Factions fight with psychic, electric powers in a world that feels ripped out of a Stephen King story. “400 Boys” is visually rich, but the art style also thematically resonates with the story’s deeper message. It goes to town with its exaggerated aesthetic and creates some truly gorgeous visuals and landscapes in this broken world. The post-apocalyptic wasteland that it crafts is like The Warriors meets Mad Max meets Escape From New York. Destruction plays out on such a massive scale that looks like gorgeous splash panels from a comic. There are setpieces in which warriors rollerblade under the legs of giant babies that they proceed to hack to bits that feel like they’re inspired by Attack on Titan’s epic battles. It’s the complete opposite style of no-holds-barred gladiatorial combat that gets treated like entertainment in “The Screaming of the Tyrannosaur.”
Love, Death + Robots triumphs with its fourth season, the likes of which prove that there’s still plenty of gas in this tank. If anything, Love, Death + Robots is willing to get even weirder and break some of its older rules for the sake of fresh storytelling. There are few misfires in this season of 10 episodes, although some certainly hit harder than others. It’s appreciated to get this many episodes and that Volume 4 is longer than the two previous seasons. However, it seems increasingly less likely to return to the cornucopia of content that was the 18-episode Volume 1. It’s also worth pointing out that, while the visuals this season remain immaculate, there are only two animation studios from outside of the United States. Love, Death + Robots’ aim has never specifically been to spotlight international animation. That being said, Love, Death + Robots is at its best when there’s a truly eclectic style to each of its installments.
Love, Death + Robots has another win with Volume 4 and hopefully there are more surreal science fiction stories to come. The season begins with the Red Hot Chili Peppers’ Anthony Kiedis singing “Can’t Stop” and by the end of these 10 episodes you’re left hoping that mantra is also true for Love, Death + Robots.
All four volumes of Love, Death + Robots are now streaming on Netflix.
Join our mailing list
Get the best of Den of Geek delivered right to your inbox!
#love #death #robots #season #review
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