If Brooker had taken a more literal approach to the idea of doing an interactive narrative, it might have proven dull. Instead, he took this as an opportunity to tell a story about how difficult telling stories like these are, really leaning into the meta opportunities provided by that approach while also indulging in some undergrad-level philosophical musings about the nature of free will. It’s a blend that works better than one might think, veering from comedy to pathos to horror with relative ease.
Bandersnatch’s do-overs lighten the weight of our decisions, which in turn lightens the gravity of the whole. It’s an exhilarating experiment, not least because it’s played out on such a major stage, and on one of Netflix’s prestige properties. Much of the episode’s success, however, relies on the clever marriage of theme and mechanism. Without this, the flimsiness of the supporting framework, more gimmick than revolution, would be exposed.
Really good late-night (film? chapter?) that will keep you entertained for a couple of hours. The 80's atmosphere is top notch and the overall plot was very interesting. Would have loved some more endings, but I'd say it's overall a great experience.
It’s admirably executed, tightly organized, well-thought-through and a lot of fun, if not particularly frightening or profound. The interactive mechanics are splendidly handled and designed; it runs seamlessly, whatever path you take.
Bandersnatch can be fun, if you’re entranced by its puzzle structure, or if you’ve always believed TV episodes would be better if only you could spend hours grinding through them again in order to watch 45 seconds of new footage. But it doesn’t make for much of a story. This is partly because the core plot is uninspired. ... It’s occasionally genuinely moving. But it’s not haunting in the way that comes from reaching the end of a story and realizing that the only “What now?” answer you get will have to come from you.
The bottom line is that despite the promise of becoming a participant in the storytelling process -- and the allure of wedding games and narrative fiction -- a well-told tale, watched passively, still trumps a so-so one that fosters the game-like illusion of putting the viewer in the driver's seat.
The interactive aspect of the viewing experience is seamless, and each adventure manages to be tonally unique and narratively distinct. But it turns out that when television starts to become a video game, the integrity of the story is muddied by the thrill of choice and control.
"Bandersnatch," as creative work and not as experiment, falls so short of the standard "Black Mirror" has set that to put it forward is to risk the credibility the series’s first four seasons have earned. ... Too little thought, ultimately, was given to how this plays as television.
This interactive film is all we all Black Mirror fans were waiting for. The alternate "universes" and possibilities are well-used tools for the plot of the story and these however make it really blurry and unpredictable for the viewers to know what comes next (if we progress towards a different ending or relapse on the same storyline we were on previously); this technique makes Bandersnatch as enjoyable as a top-range videogame. This 'playable' movie is a great step into the future and a smart move concerning the construction of the narrative. 9/10