VOD (3)
Seasons(4) / Episodes(36)
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The Maze (2016) - 10 episodes
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The Door (2018) - 10 episodes
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The New World (2020) - 8 episodes
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The Choice (2022) - 8 episodes
Plots(1)
A series inspired by the 1973 film of the same title directed by Michael Crichton about a futuristic theme park populated by artificial beings. (official distributor synopsis)
Videos (37)
Reviews (7)
The skeptical half of me seethes with rage at the memory that during the first half, the personal validator highlights so many glitches that would get the average programmer kicked out of school during their first exam. The second half, however, is a reminder that the whole time it's been loading up on a pack of spectacular revelations in which you sense Abrams' classic "everything is different" but appreciate Nolan's "let me pour it into your head in a whole new way." Even if you find something out, guess something differently, and something really surprises you in the end, after the initial indignation you will eventually reach a slight sense of satisfaction. Anyway, rather than a weekly allotment, I'd appreciate Westworld in a unified "Netflix whole." The way that it is, the initial slowness is more annoying than interesting.
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Watching Westworld is like spending a protracted and monotonous ten hours putting together a jigsaw puzzle; there are times you get bored and feel like quitting, but after all the pieces have fallen into their place you can say “hey, that’s a pretty nice picture!”. Yet, I feel that this picture in particular isn’t much of a masterpiece, and that the journey there was pretty annoying at times and full of useless side trips. Overall, the first season didn’t enchant as much as I was expecting, I think the concept has more potential. Straddling three and four stars.
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A very satisfying first season. Badly written, western scenery absolutely beautiful, contrasting with Harris as the killer. Hopkins is wonderful. The diagnostics in the finale, or Talking About God and Shakespeare with Dad is chilling. More and heavier… 1: A huge, thoughtful metaphor for the life that we live today. Narratives written by big corporations, puppets living in a loop of going work and awakened people trying to escape from the grips of manipulation. Nolan and his wife have revived the sci-fi classic from 1973 with such sensitivity that the result is fresh, while also traditional. The awakening of artificial intelligence is a classic topic set in the ritual of regular lives, the loop turning the androids into human beings. The Matrix back to front, where machines suffer under the domination of people. Abrams’ supervision helps the mysterious atmosphere and huge scale, because, despite all the breathtaking action scenes and opulent apparitions, it remains primarily a thoughtful conversational drama, playing heavily with the perception of time. The star-studded casting isn’t just for show. Ed Harris is diabolical, Evan Rachel Wood pretty as a picture. The scenes where Anthony Hopkins appears have the viewer’s eyes glued to the screen. Clever dialogs, conversations with a reason and a story about the importance of the story and the truth lying within. Dosage of information, the timing and the final bait to make you look keen for the potential next season are all performed with the utmost care. At times it didn’t look like it, but Westworld is the event of the year and you’ll want to watch it again. 2: Incredibly pumped series, full of unexpected twists, just the conclusion is maybe unnecessarily too elaborate. We are still on a search of human psyche and what we see is not exactly flattering. All characters have lines able to bring the best out of them (great transformation of Teddy) and the narration through flashbacks is mastered fantastically. The glance at the Dark Tower and the original Westworld at the end is just the icing on the cake. I hope that the third series will retain the high quality and that we will be finally able to see the three remaining parks. 3: The robot rebellion moves from the park to the city and completes the dramatic arc – bad for the bad, good for the good. Nolan subtly uses the topic of the ability to calculate the future and arranges them on the central theme of life in loops. He elegantly presents heroes as villainous and villains as heroic. Dolores looks great in the real world; the visual world is visually enchanting and beautifully clean. The finale of course leaves room for another season, but the main story has been told. This year, I liked Devs much more. P.S. A couple of episodes are very weirdly directed and draw attention away from the story.
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Crichton's original film Westworld presented, through the name of its famous writer and the participation of Yul Brynner as the star, the closest possible connection to the western genre, which is now perceived as an ordinary and not very interesting B-movie. Although the respected HBO was behind the production, I did not expect something so well-thought-out and captivating, and elaborate, and something that would compel me to watch the entire first season in the shortest possible time. A smart series with a complicated structure that is thought-provoking, with a humanistic focus, with ambiguous characters, and brilliantly cast and directed - what more could you ask for? Westworld plays with the popular idea of the creation of artificial intelligence, which is the responsibility of two technological visionaries - Ford and Arnold. The practical Ford is focused on business and relentlessly pursues his goal of building a giant amusement center that creates a perfect illusion of the Wild West in the 19th century. Its residents are meant to be indistinguishable from humans, nothing more than top-notch machines. His colleague Arnold realizes the consequences of their efforts and playing god begins to frighten him. He becomes an obstacle to progress and his life ends in a futile attempt to stop the project. 35 years later, he paradoxically stands in the way of Ford's society running smoothly. There are inexplicable phenomena in the behavior of the robots, employees are disappearing, tension is mounting, and change is in the air. The authors of the series play a wide-ranging and in-depth game with the viewer, confusing them, playing games on the side, and combining genres. Of course, Westworld is above all a tribute to the classic western with all its identifying features and stereotypical characters. It is also sci-fi, but lovers of romance, nerds accustomed to deciphering a multitude of references and puzzles, and fans of adventure spectacles will also find something in it for themselves. What works wonderfully is the combination and balance of intellect and emotional engagement. The complex structure of the story forces the viewer to think, while the abuse of the artificial beings evokes a wave of sympathy for their fate, not unlike the position of ancient slaves. Wealthy park visitors have the opportunity to torture, kill, and rape anyone of the robots - and they often do. While the robots represented a threat in Crichton's Westworld, in the new adaptation, they represent the more sympathetic part of the series' protagonists. Their desire to understand the meaning of their existence and for dignity humanizes them more than humans full of superiority, selfishness, and callousness. The revolt of the robots brings with it not only destruction but also hope for the restoration of moral values and humanistic ideals. It is hard to say what I would praise the most about Westworld. Is it the cunning variability of characters influenced by reprogramming or the revelation of their identity? The performance of veteran actor Anthony Hopkins as the grand, manipulative, and dangerous park boss? Or perhaps the excellent set design? Regardless, I am looking forward to the next season like a little boy. Overall impression: 95%.
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The potential of the scheme "Red Dead Redemption MMORPG by Philip K. Dick" is unprecedented, but still suffers from excessive exposure. Because most of the time only future great events are implied and the world is being explored including its specific rules on the spot and behind the scenes, so as a result there is somehow no necessary space for the characters themselves. In mostly badly affects the living characters, which are sadly too one-dimensional. In any case, this multi-layered moral reflection is so well played out and captivating that the viewer will dive deep into it. I'm just wondering if the short story form à la The Black Mirror wouldn't fit more, because the power of these themes is based on how each viewer will approach them deep inside. Thus, only time will tell whether the creators will deal with this pitfall with honor or whether they will keep repetitively doing the same all the time.
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