Murderbot

When held up against book-to-screen adaptations, Murderbot will arguably go down as one of the strongest so far this year, as well as one of Apple TV+'s best sci-fi shows yet, thanks to a delightfully layered lead performance from Skarsgård, a terrific ensemble fortified by Dumezweni and Dastmalchian, and a perfect blend of laugh-out-loud comedy and high-stakes drama.

Murderbot is certainly a quirky show, but it has a good combination of fun and human moments, punctuated by a surprisingly funny performance by Alexander Skarsgård.

The season is nearly half over before Murderbot’s dynamic with its team, and the ongoing mystery about the slaughtered researchers, really start to develop. When Murderbot finally starts voicing its annoyance to Mensah and the team, the series gets a lot more entertaining.

It’s a wryly funny sci-fi comedy with a robot trying to understand humans, even if it would be easier to just kill them all instead.

Wells devotees are bound to have their quibbles with the way "Murderbot" makes the leap from page to screen. Those issues aside, and apart from the occasional pacing hiccup, this a remarkable new series packed with humor, heart, and big ideas that are both constantly present and never in the way of a thumping good sci-fi story.

On screen we see Murderbot from the outside. There’s no avoiding it, and for better and for worse, that move into a world seen from beyond Murderbot’s perspective flattens everything into a story that’s simpler, sillier, and lighter. The show’s biggest boon is Skarsgård, who plays Murderbot with an unblinking straightness that still manages to read as a whole palette of emotional experience.

A standout Skarsgård, with excellent support, in an entertaining send-up of cyborgs— but strictly for sci-fi fans only.

Some viewers who are unfamiliar with the source material will likely find the contradiction between the show’s title and its content jarring. But, much like its central character, Murderbot doesn’t care, gleefully embracing all the weirdness and contradictions inherent within itself and reveling in them.

An odd but welcome diversion.

With a unique premise, interesting world, and clever humour, the dedicated performances by all of its cast members are endearing enough to make you want to see more adaptations of Wells’s universe being brought to life.

Murderbot isn’t an exact recreation of the books — and it’s too irreverent to be the kind of thing Murderbot would enjoy — but it’s very fun and satisfying as its own thing.

As the credits roll, we are left with an incredible life-affirming story that is actually hilarious. Between hearty laughs, you will be utterly absorbed by the engaging writing threaded throughout.

Like Wells’ books, the Apple TV+ series—written and directed by About a Boy filmmakers Paul and Chris Weitz—is accessible and funny.

Really, though, this is Skarsgård’s show, and he only acquits himself better as the premiere progresses.

A jokey saga that hinges on the caustic drollness of its protagonist.

After 10 episodes of the new Apple TV+ series, Skarsgard’s interpretation of the character became one I appreciated tremendously. Creators Chris Weitz and Paul Weitz’s grasp on the property’s tone and world-building is less effective for me and, unlike with Skarsgard’s performance, I never came around to fully embracing its validity. Still, I like Skarsgard more than I dislike the bland overall approach.

There’s much more in play here than simple entertainment as “Murderbot” explores the value of free will and our inherent need to roam and explore so we can enrich our soul.

This winning dose of cosy escapism will warm the cockles of any heart, artificial or otherwise. The uplifting effect is achieved via a gag-filled script, more Seinfeld than cyberpunk. To that is added an optimistic message about the importance of human connection.

Fans of the books may have mixed reactions to this adaptation, which successfully recreates the snarky humor of the novels (particularly for Murderbot itself) but doesn't entirely nail the deeper sociopolitical underpinnings.