Altered Carbon is set in a future in which human consciousness can be transferred from one body to another via a process called sleeving, thereby allowing people to resurrect themselves in new forms. Thats an all-too-fitting conceit for Netflixs new sci-fi series, given that it does the exact oppositedownloads some new (and not-so-new) ideas into a mold modeled slavishly on Blade Runner, and to such an extent that showrunner Laeta Kalogridis should be hoping Ridley Scott has let his streaming-service subscription lapse.
Scotts seminal 1982 film, which recently spawned a gorgeous if underwhelming sequel in last Octobers Blade Runner 2049, is as influential as any modern sci-fi work, and yet even so, its stunning to discover just how indebted Altered Carbon is, both aesthetically and conceptually, to its illustrious ancestor. Flying cars zoom through rainy metropolises teeming with skyscrapers adorned with holographic neon advertisements. Grimy city streets are comprised of dilapidated buildings covered in graffiti. Whorehouses are bursting with shady women, and serve as the locale for sequences featuring shattering glass. Wealthy and powerful titans of industry live in imposing enclaves high above the surface-level riff-raff. And of course, a jaded gumshoe in a long overcoat (its collar upturned) navigates this landscape in search of a targetand a truththat always seems just out of reach.
Adapted from Richard K. Morgans celebrated 2002 book, Altered Carbon is second-generation future noir, and its riffing on Blade Runner is, if inferior to Blade Runner 2049, nonetheless handled stylishly. Rarely has a small-screen affair featured so much exceptional sci-fi CGI and production designfrom vast panoramas of Earths Bay City urban centers and shots through the gilded-paradise homes of the elite, to trips into virtual-reality environments where everything has a kaleidoscopic-fish-lens fluidity, Kalogridis show mimics with skill. Factor in a number of combat sequences that have been choreographed with muscular flair, and the proceedings prove to be a consistently arresting sort of facsimileone that pays reverent homage while adding novel flourishes to its stock template.
In other words, most sci-fi fans will instantly recognize Altered Carbon as existing in a familiar yet-to-be, and that notion is only reinforced by its subsequent borrowing from other genre staples (including The Matrix, via characters that function as the actions de facto Neo and Morpheus).
Its the 25th century, and Takeshi Kovacs (Suicide Squads Joel Kinnaman) is birthed out of a giant bag in a scientific labor, rather, hes resurrected, since Takeshi has been on ice for the past couple of centuries. A former super-soldier known as an Envoy who helped maintain law and order across the galaxy on behalf of the UNs governing Protectorate, Takeshi was decommissioned after he turned against his mates and joined up with rebel leader Quellcrist Falconer (Ren Elise Goldsberry), aka the aforementioned Morpheus stand-in. Two centuries later, hes back, but with a new build, since human consciousness is now stored on stackslittle hard-drive devices that sit at the base of the neck, and can be implanted into any body.
Kovacs rebirth comes courtesy of Laurens Bancroft (James Purefoy), a 1-percenter who can effectively live forever because he has the money to create both back-ups of his stack (every 48 hours), and exact clones of his physical self (hence his nickname Meths, as in Methuselah). Laurens wants Kovacs to solve his own murder, which took place before his most recent back-upmeaning he doesnt remember what happened. Its a clever sci-fi twist on a formulaic set-up, and before long, Kovacs finds himself ensnared in a Philip K. Dick-ish mystery involving Laurens femme fatale-wife Miriam (Kristin Lehman), scrappy cop Kristin Ortega (Martha Higareda), ex-military badass Vernon (Ato Essandoh), Kovacs beloved sister Reileen (Dichen Lachman) and Poe (Chris Conner), the mustached artificial intelligence who runs the hotel that Kovacs calls home.
To recount where this investigation takes Kovacswhos in the body of Ortegas dead boyfriend/partnerwould require approximately 10,000 more words, since Altered Carbon is crazily overstuffed with plot, some of it clever (on All Hallows holiday, revelers re-sleeve as different people) and a lot of it tediously convoluted. Often, there are just too many ideas competing for attention, such that dialogue drowns in techno mumbo-jumbo and creative narrative twists turn out to be unnecessary detours. Aiming to be a cyberpunk The Big Sleep, it plays like a byzantine whodunitreplete with flashbacks, rewinds, animated interludes, and perfunctory hardboiled narration from Kinnamanthats bogged down by its own self-consciousness. By the time it indulges in a cover of White Zombies More Human Than Humanitself inspired by Blade Runner, and here remixed with the piano melody of John Carpenters theme from Halloween, which Rob Zombie remadethe series feels like a snake constantly eating its own tail, which, wouldnt you know, is its signature credit-sequence image, with said serpent twisted into an infinity sign.
Though his supporting cast isnt particularly memorable, Kinnamans devil-may-care gruffness keeps the mood rough around the edges. Unfortunately, Altered Carbon is so busy tying itself up in knots that it fails to grapple with the ethical questionsabout what defines a person, and a life; about how morality can exist if mortality is conqueredthat are at the heart of its tale. Issues of representation also figure prominently in the show, largely because Kovacs was originally an Asian man (played, in flashbacks, by Will Yun Lee) whos now been given new Caucasian skina scenario that recalls the whitewashing controversy that plagued last years live-action Ghost in the Shell. No such outrage will likely greet Altered Carbon over this twistboth because the series is so thoroughly multicultural, and because Lee is given ample opportunities to shine. Still, one wishes Kalogridis exploited this central ethnic dynamic for more ruminative identity-pondering ends, rather than just as a super-cool storytelling device.
Then again, Altered Carbon is defined by its general shallowness, which it tries to mask beneath a brooding, fatalistic exterior. Never is that more acutely felt than in its fondness for bloody violence and full-frontal nudity (of both the male and female variety), which makes it feel like its trying way too hard to be gritty and adult. Of course, sex turns out to be an integral component of a show that, at heart, is about corporeal experience. Too bad, then, that even its treatment of this ripe-for-exploration subject never really goes anywhere. Its all body, little soul.
From Latex Strippers to Killing Hitler: Inside Netflix’s Wildest Series
Sex isnt included in the title of Love, Death & Robots, the new animated Netflix series from directors David Fincher and Tim Miller (premiering March 15). But that doesnt mean there isnt plenty of R-rated eroticismnot to mention myriad Hitler deaths!to be found in this 18-episode anthology of sci-fi shorts about the strange, surreal and sinister.
Created by Miller (Deadpool, the upcoming Terminator: Dark Fate), who also serves as an executive producer alongside Fincher (Fight Club, Zodiac, Netflixs Mindhunter), Love, Death & Robots is a deliberately diverse affair rife with violence, humor and a healthy dose of sensuality. No matter that its installments are all computer generatedits for adults only, peppered with full-frontal female nudity, intermittent profanity and a dark, demented view of the world, both now and in the future, which is where most of its vignettes are set. Delivering bleakness and black comedy in distilled form via stories that rarely last more than fifteen minutes, its like Black Mirror for the ADD-addled video game crowd.
Interactive games are certainly evoked by two of the six episodes that were provided to press in advance, as both boast the photorealistic environments and admirably lifelike and emotiveif still clearly artificialhuman faces and figures found in AAA title cutscenes. Theres something startlingly authentic about the way vehicles move and physical spaces are rendered in Sonnies Edge, the shows first episode, even though its grimy blacks, greens and reds define the action in somewhat familiar sci-fi terms. Thats true of its narrative as well, about a young, facially-scarred combatant preparing to compete in a fight to the death against a male opponent. The Real Steel-ish catch is that shes not the one doing the actual brawling; instead, she uses mind-meld technology to pilot a giant reptilian creature (its head stretching backwards into a deadly spiked tail) against her adversarys brutish beast………………………………………………………………………”
The Disappearance of Madeleine McCann | Netflix
A detailed look at the disappearance of 3-year-old Madeleine McCann, who vanished while on holiday with her family. The Disappearance of Madeleine McCann. Only on Netflix March 15th.
Someone Great – Netflix Trailer
Aspiring music journalist Jenny (Gina Rodriguez) has just landed her dream job at an iconic magazine and is about to move to San Francisco. Rather than do long distance, her boyfriend of nine years (Lakeith Stanfield) decides to call it quits. To nurse her broken heart, Jenny gathers up her two best friends Erin (DeWanda Wise) and Blair (Brittany Snow) for one outrageous last adventure in New York City. From writer/director Jennifer Kaytin Robinson (creator of MTV’s Sweet/Vicious) SOMEONE GREAT is a hilarious and heartfelt story of friendship, love, and what it means to let go of your twenties and enter adulthood. Watch Someone Great April 19 on Netflix!