It seems to be a comedy-filled event that tells Ulysses and his friends Carly, Ford and Severin, who live adventurous lives and journeys to do many of the tasks that seek love, sex and fame in Los Angeles. Despite the fact that things are going well through the adventures of applying sexual dating and romance, Ulysses is increasingly concerned with the preconceived dreams he always has, where it is possible to discover a real conspiracy.
The result is a bright and boisterous B-movie spin on a Sex and the City-tinged comedy of sexual errors that infuses the familiar half-hour format with Araki's signature cocktail of paranoid hedonism. Which is to say, it's extra af.
Viewers who aren't feeling the creator's particular groove can't be blamed for checking out of a show that so intentionally allows style to prevail over substance, and often forgets to check in with the apocalypse it has promised in its title.
Now Apocalypse... pushes its tone of oddity to what will likely be the limits of many viewers' patience, bringing several amiable performances to bear on a story that feels like a warmed-over rehash of sharper material.
[Gregg Araki] is widely known for a visual and narrative style that seemingly favors bright colors and hypersexuality. Now Apocalypse features both of these in droves, but... it's grasping at so much more.
The ride toward the end is as familiar as it is dull. If the apocalypse is nigh, than the last thing people should do is spend their time watching another lazy recreation of millennial malaise.
