The Rebooted 'Lost in Space' Hurtles in Many Directions at Once
Netflix’s remake, featuring Max Jenkins as Will Robinson, offers action melodrama on the subject of child-rearing while also pitching an all-ages adventure tale.
On Irwin Allen’s “Lost in Space,” the nineteen-sixties science-fiction series, the robot was an American-made factotum with a torso like a beer keg, limbs like aluminum ducts, and the verbal ability of a liberal-arts student. His counterpart on the new Netflix remake of the endearing classic is an extraterrestrial noble savage with the exoskeleton of an H. R. Giger beast, the heart of a Steven Spielberg empath, and a vocabulary limited to a catchphrase addressing his eleven-year-old companion: “Danger, Will Robinson!”
“Lost in Space” offers action melodrama on the subject of child-rearing while also pitching an all-ages adventure tale. The Robinson daughters—the assiduous Judy (Taylor Russell) and the impassioned Penny (Mina Sundwall)—lay on repartee with the perky surliness of characters from a Nickelodeon sitcom. “Probably shoulda read the fine print before I launched into space,” Penny says, greeting an early complication with the first of many lines inflected with a comprehensive eye-roll. At times, the show plays like an adaptation of a middling young-adult novel. It shambles to pander, as when Judy, attempting a salvage mission, becomes trapped just under the surface of a sea that freezes over before our eyes. One hand extends its grasp with textbook-picturesque poignancy as she runs short on oxygen, her lips glossed in a shade that pairs perfectly with her eye shadow. The series’ thoughtful approach to the lingering trauma of mishap provides some recompense for its gimmickry.
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Netflix’s remake, featuring Max Jenkins as Will Robinson, offers action melodrama on the subject of child-rearing while also pitching an all-ages adventure tale.
On Irwin Allen’s “Lost in Space,” the nineteen-sixties science-fiction series, the robot was an American-made factotum with a torso like a beer keg, limbs like aluminum ducts, and the verbal ability of a liberal-arts student. His counterpart on the new Netflix remake of the endearing classic is an extraterrestrial noble savage with the exoskeleton of an H. R. Giger beast, the heart of a Steven Spielberg empath, and a vocabulary limited to a catchphrase addressing his eleven-year-old companion: “Danger, Will Robinson!”
“Lost in Space” offers action melodrama on the subject of child-rearing while also pitching an all-ages adventure tale. The Robinson daughters—the assiduous Judy (Taylor Russell) and the impassioned Penny (Mina Sundwall)—lay on repartee with the perky surliness of characters from a Nickelodeon sitcom. “Probably shoulda read the fine print before I launched into space,” Penny says, greeting an early complication with the first of many lines inflected with a comprehensive eye-roll. At times, the show plays like an adaptation of a middling young-adult novel. It shambles to pander, as when Judy, attempting a salvage mission, becomes trapped just under the surface of a sea that freezes over before our eyes. One hand extends its grasp with textbook-picturesque poignancy as she runs short on oxygen, her lips glossed in a shade that pairs perfectly with her eye shadow. The series’ thoughtful approach to the lingering trauma of mishap provides some recompense for its gimmickry.
#screentv #reviews
******
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• Twitter: http://bit.ly/tt-screentv
• Instagram: http://bit.ly/ig-screentv
• Pinterest: http://bit.ly/pin-screentv
******
COPYRIGHT DISCLAIMER
Title 17, US Code (Sections 107-118 of the copyright law, Act 1976):
All media in this video is used for purpose of review & commentary under terms of fair use. All footage, videos & images used belong to their respective companies.
Fair use is a use permitted by copyright statute that might otherwise be infringing.
▶ http://dai.ly/x6ixqp0
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