![]() Vicious is rather one-note, but the ninth episode of the season-an exceptionally well-executed flashback-lends him and other characters some shading and gravity before the first season wraps up.Įven once it’s found its groove, though, Cowboy Bebop fails to conjure a molecule of chemistry between Spike and Julia ( Elena Satine), an ex whose memory the bounty hunter can’t shake. Alex Hassell does the absolute most-in a good way-with the role of the gangster Vicious, Spike’s primary antagonist. Netflix’s episodes, which usually run between 40 and 60 minutes rather than just 24, allow the new show to build up winning supporting characters like bar owner Ana ( Tamara Tunie) and the bar’s manager, Gren ( Mason Alexander Park). ![]() (That said, Spike’s signature suit and hair, which are terrific, are note-perfect renditions of what you see in the anime.) I hope I can say this without the angriest parts of Reddit falling on my head: This version of Cowboy Bebop, in many ways, improves on the original. This light-on-its-feet drama draws on the original, visually and thematically, without feeling overly beholden to it. If you’re worried you’ll need to have seen some of the anime series in order to dig this one, don’t be. When the show’s core duo is joined by fellow bounty hunter Faye Valentine ( Daniella Pineda), well, that’s when Cowboy Bebop is really cooking: The chemistry these three actors share could light up a scrappy space colony. ![]() Cowboy Bebop’s mood and even its worldview are in many ways defined by its jazzy soundtrack, and composer Yoko Kanno-who also worked on the original-is in top form here.Īs Spike and Jet Black ( Mustafa Shakir), a fellow bounty hunter and the owner of the good ship Bebop, travel to various scruffy, low-rent planets, alternately trying to reclaim and run from their pasts, Cowboy Bebop proves that it’s possible to riff on source material without lapsing into by-the-numbers homage. How glorious-and rare-it is to see a streaming drama with an overarching plot that also offers episodes that are, especially in the early going, enjoyably self-contained. The move comes weeks after Weta Digital, whose credits span Lord of the Rings to Avatar, sold its visual special effects technology arm to the US-based video game company Unity for $1.63bn.Cowboy Bebop’s pacing is greatly assisted by the “bounty of the week” structure featured in most of its episodes. ![]() Netflix said it expected to close the transaction in the first quarter of 2022. Reinhard said: “We’ll also continue to rely on many other studios around the world for our VFX needs so we can continue to ensure that our creators have access to the world’s most innovative tech, and continue to bring the most compelling and cutting-edge storytelling to our members. The company will continue to operate as a standalone business and work with their variety of clients. Reinhard added: “Netflix will invest in Scanline’s pipeline, infrastructure and workforce and continue to support the pioneering work that Scanline’s Eyeline Studios is doing in virtual production to push the boundaries of what is visibly possible.” Its upcoming in titles include Don’t Look Up, The Gray Man, Slumberland, The Adam Project and Stranger Things 4.Ī well as vfx, Scanline works in the burgeoning field of virtual production. Scanline’s credits also include Netflix’s Cowboy Bebop and Blood Red Sky. Scanline has offices in Vancouver, Montreal, Los Angeles, London, Munich, Stuttgart, and Seoul. In a statement announcing the deal, Netflix VP of studio operations Amy Reinhard said: “From the interstellar landscape of Cowboy Bebop and the ravenous vampires of Blood Red Sky to the exploding underground reactor in Stranger Things 3, we want to surprise and delight our members by pushing the boundaries of visual effects.” The acquisition is the first time that Netflix has taken control of a major player in the special effects industry.
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