An 8-episode British sci-fi series from writers Jonathan Brackley and Sam Vincent (“Hotel Babylon,” “MI-5”), based on a Swedish series created by Lars Lindstrom, “Humans” examines an alternate dimension in which robots are the latest hot tech gadget.
And even though these gadgets apparently cost as much as a car, this series makes me want very much to purchase one of my own.
The cast is almost entirely British. To Americans, the most familiar player is almost certainly William Hurt, who does an amazing job playing a pioneering robotics engineer hobbled by Alzheimer’s. He also loves (as a son) his 6-year-old malfunctioning “synth” that he’s determined to hang on to despite some quite troubling glitches.
In a lot of ways “Humans” feels like an exploration of the world we visited briefly so long ago in “Blade Runner.” There are no flying cars but there are replicant hunters. And pleasure models. And some robots who want more out of their “lives.”
It has a few things in common with Fox’s rather less compelling robot-cop show “Almost Human,” among these the curious idea that manufacturers would decide that most if not all robots should bear multi-ethnic facial features.
Owners of smartphones may find themselves amused at the interactions synths have with their owners.
I say switch it on!
… a solid, if not thrilling, piece … their stories in the early going will be awfully old hat to anyone with even a passing interest in science fiction. …
... Some of it is familiar from previous takes on artificial life, some of it is innovative, but all of it is involving, well written and well played. …
... solid if somewhat familiar; the truth and beauty of the series lies in the various B plots. …
... The first two episodes are appallingly derivative of other robot-on-the-run stories (especially “A.I.”), with no clear indication that a surprise twist awaits down the road in the other six episodes. …
The San Francisco Chronicle says:
... In spite of revisiting familiar territory, Humans could be more engaging if it had a greater sense of urgency. As it is, the show is, you should pardon the expression, just a tad too robotic. …
The Pittsburg Post-Gazette says:
… poses arresting questions about the impact of technology on people in their day-to-day lives. The show is most entertainingly creepy when it hints at the potential dangers posed by sentient synths, thanks in large part to the expressions – vacant and otherwise – of the actors playing the robots.…
... compelling, smartly acted … for all its allure as a sci-fi thriller, the real strength of Humans stems from its willingness to ponder our need to attach, and the risks and gifts that need creates. That's most clearly shown through George (an almost effortlessly touching William Hurt), a widowed scientist succumbing to Alzheimer's who clings desperately to a malfunctioning synth because it's the only repository left of George's happiest memories. You feel for George, you feel for the synth — and you fear you'll end up crying over both.
… the themes of hubris, morality and human obsolescence are cobbled together from the Asimovian stock parts of robot stories past. Humans struggles with a problem of much dystopian sci-fi: it asks the audience to accept that the fictional world has embraced this technology as a panacea, even as nearly every character has a foreboding sense that it’s a terrible mistake. …
... mashes together renegade-robot themes in a manner that feels both derivative and a trifle boring. …
... The promise of the early episodes makes it look like AMC was smart to get involved in this co-production because, despite the familiar premise, Humans is a keeper. …
9 p.m. Sunday. AMC.
