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Love, Death & Robots Review

Love, Death & Robots is an animated science fiction anthology series that premiered its first season in 2019 and the second one in 2020. It’s an uneven, but solid Netflix show.

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“Sometimes, it is difficult even for me

to understand what I have become,

and harder still to remember what I once was“

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This show is very much a mixed bag for me. I appreciate Netflix for literally being the haven for US adult animation, but this particular project needed more work. The animation is gorgeous and almost painstakingly real in its photorealism. The score is also always incredible and the voice acting is quite commendable. The problem is the storytelling and the format of only around ten minutes long episodes that prevented most stories from reaching their full potential. Most aren’t as sophisticated as the creators think they are.

Sonnie’s Edge is especially mediocre. It’s emblematic of everything that is wrong with this show – it relies too much on violence, gore and bad language, but the plot is nothing to write home about. It thinks it’s cool, but it really isn’t. Three Robots is cute and quite funny. The Witness was terrific. It’s one of my absolute favorites as it has such an intense pace, brilliant execution and an ending that will leave you questioning everything that came before it. It’s quite thought-provoking.

Suits is a standard SF monster storyline that isn’t particularly memorable. The same goes for Sucker of Souls. When the Yogurt Took Over is ridiculous. I got what they were trying to do, but there must have been a less silly way to go about it. Beyond the Aquila Rift is a solid spaceship twisty story that features fine characters and an especially effective ending.

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Good Hunting was too much of a departure for this SF show as the only period piece here. The Dump is definitely gruesome and wildly entertaining, but not at all meaningful as is the case with most of the episodes of this series. Shape-Shifters is one of the better segments with the werewolves being a strong metaphor for minorities.

Helping Hand is all about that ending where you get the ironic joke, but it hinges way too much on it for it to work. Fish Night was absolutely gorgeous and as a paleontology fan, I adored this story and the imaginative elements in it. Lucky 13 is forgettable, but Zima Blue is probably the deepest story of the bunch with a particularly powerful, moving ending.

Blindspot is overly action-oriented, but Ice Age is definitely quite engaging. The miniature civilization evolving quickly is a familiar idea, but it’s executed really well here while the visuals are superb. Alternate Histories is such a brief, but fun take on all the different outcomes surrounding Hitler. The Secret War is highly authentic in the Siberian setting and fun, but again slim in themes and too action-heavy.

Automated Customer Service starts the second season with a potent message about our over-reliance on technology, and I wish more segments explored this theme. Ice is again overly bombastic in action, but Pop Squad really works due to its excellent futuristic premise and a morally fascinating subject.

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Snow in the Desert and The Tall Grass both rely too much on their great settings, but the latter one is more intriguing. All Through the House is short, abrupt and pointless. Life Hutch is okay, but it is The Drowned Giant that is the highlight of this second season with such a touching, poetic tale of the passage of time and the beauty of the unknown.