ad
Supported by
As manufacturer and director of a new HBO series, Max, the author of “Blade Runner” and “Alien” is delivered to his liking for robots and altruistic science fiction.
By Mike Hale
We can count on Ridley Scott, when she’s in her wonderful sci-fi type mode, to deliver a signature image. In the new series “Raised through Wolves”, it is a very high android killing device: a cross between an archangel and Fritz Lang’s The Hot Robot, “Metropolis”, which splashes the Huguys with their banshee cry. It is the edition of this series of the urban landscape of rainy neon in “Blade Runner” or the parasite that explodes the chest in “Alien”, and is not as unexpected as these, makes you sit down and take note.
“Raised through Wolves”, which premieres with 3 episodes thursday on HBO Max, created through Aaron Guzikowski, who created the series “The Red Road” and wrote Denis Villeneuve’s film “Prisoners”. But Scott’s call comes first in the press releases: he is an executive manufacturer and directed the first two episodes, and has a proven affinity for androids. It’s not a bad bet that a green light would light up in his head when he saw the prospect of this fatal robot in Guzikowski’s story.
Known as Mother and featured through Danish actress Amanda Collin and a giant virtual effects team, she represents almost the entire series through the six episodes of “Wolves” made for critics. There are other things that happen, adding a war of faith and, more importantly, an elaborate and multidimensional reflection on the meaning of fatherhood and the family.
But it’s more about datasets than drama; they feel they may have been assembled through the smart androids of the series. What interests you are the performances of Collin and Abubakar Salim (as wife of Mother, Father), well-executed examples of formality and the other global ones that characterize the cinematic AI. – and the moments when Collin’s pale skin becomes a bronze-colored armor and rises in the air with his arms outstretched.
The “wolves” begin when the mother and father collapse on a distant and spobby planet, having been sent through an area with a set of frozen human embryos through atheist forces that lose an all-out war opposed to a devout organization called Mitra. (The faith practiced in the exhibition resembles Christianity, however, giving it the call and divinity of an ancient Roman faith today helps to keep the whole summary in complete certainity. )
As the androids set up camp and begin raising their synthetic families, paradoxes are in a position to be used. The mother and father, programmed to reject all notions of the supernatural and instill atheism in their offsale, are of course the new Adam and Eve. responsible for restarting the human race in its barren eden and, as they are forced to take drastic measures to protect children, react in a human way, forcing the concept that there is no soul.
Their new home is not a paradise: Most of the youngsters succumb to the disease, leaving only one, Campion (Winta McGrath), which does not bode well for humanity. Or it is a danger and an opportunity when a shipment with a thousand Mithraics arrives. the same planet.
All this staging takes place in the first episode very visible, which has the silent grandeusness that Scott can bring to this type of material. (The series as a whole has other features that are characteristic of Scott’s films: a dark power and a sense of Once believers arrive and Mother begins to move to war mode, the series settles into a more traditional sci-fi TV rhythm, cutting off its flashback revelations, arduous journeys and striking interludes of Travis Fimmel and Niamh Algar carry courage as a mitraic couple with their own rare circle of family arrangement, their opposite numbers and antapassnists for the mother and father.
There are few attempts to hide or explain the resources of what we are looking for; in any case, “Wolves” is proud to be derived. The stage is strongly reminiscent of “Battlestar Galactica”, in its mix of wonderful concepts and apocalyptic opera, and the mechanics of the “Terminator” films. trotting through a desert landscape, he invokes “Star Wars”; the harsh allegorical elements, “The Story of the Maid”; stylized speech and the movements of androids, the British series “Humans”. A mysterious child thrown into a cape is the last quote from the figure of “Don’t look now”.
If your appetite for prodigious sci-fi action is strong, “Raised through Wolves” can be minimized quite easily, although mine is plentiful and I place my attention rambling at the time or in the third episode. The fact that the production, filmed in South Africa, has an opaque and grey appearance does not help.
It is a laugh to see Mother and Father being informed to parents the bad, bewildered and saddened by the propensity of young humans to manipulate, lie and fall into bottomless pits, but above all, there is only the expectation that Mom will get in touch and give us another adrenaline rush.
Ad