Almost Human
2013
Original language: English
- drama
- crime
- sci-fi & fantasy
- action & adventure
The story
The year is 2048. By mandate, every cop must partner with a robot. Detective John Kennex returns to work after waking up from a 17-month coma. As he adjusts to working with his new partner, Dorian, a discontinued android with unexpected emotional responses, John also must learn to get along with his new colleagues.
What it’s like
Gleaming, rain-slicked near-future Los Angeles at night, all cold blue and sodium-orange neon, with a glossy digital sheen that makes the city feel polished and slightly sterile. Interiors lean on hard overhead fluorescents and cramped precinct corridors, while the handheld-leaning camera stays close to the detectives during chases and gunfights. The score is synth-driven and pulsing, with quieter, sparser passages when the partners talk through their unease. Vibe: sleek, uneasy, and quietly humane, with a steady undercurrent of ominous dread about machines and what they might feel. It suits a late-night watch alone, or an evening when you want a procedural with a sci-fi edge. Pacing is brisk and episodic, with each case a self-contained hit, while the longer arc tracks a damaged man slowly learning to trust a partner he was built to distrust. Violence is regular and sometimes sharp, with shootouts and fist fights, but gore stays modest and the tension lands more through threat than cruelty. Sexual content is light. For fans of buddy-cop banter who also enjoy questions about identity and artificial minds.
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