Tuesday, April 13, 2021

Jordan Vogt-Roberts to Helm Netflix’s Live-Action Gundam Movie

(Photo Credit: Alberto E. Rodriguez/Getty Images)Jordan Vogt-Roberts to helm Netflix’s live-action Gundam movieIt has been four years since the successful release of Kong: Skull Island, and now director Jordan Vogt-Roberts has finally found his next big project with Legendary. Vogt-Roberts has officially signed on to direct the studio’s first-ever live-action feature film version of Gundam for Netflix, which will be based on the universe of Sunrise’s iconic Japanese robot franchise.This marks Legendary and Netflix’s latest collaboration together, the two companies previously worked on films such as 2016’s Spectral and last year’s Enola Holmes as well as shows like Lost in Space and Pacific Rim: The Black. They are also currently working on the anime series adaptation of Skull Island and Tom Raider.RELATED: Netflix’s Live-Action Cowboy Bebop Series Wraps Production!Plot details for the Netflix film are being kept under wraps but the original Gundam series is set in the Universal Century, an era in which humanity’s growing population has led people to emigrate to space colonies. Eventually, the people living in the colonies seek their autonomy and launch a war of independence against the people living on Earth. Through the tragedies and discord arising from this human conflict, not only the maturation of the main character but also the intentions of enemies and the surrounding people are sensitively depicted. The battles in the story, in which the characters pilot robots known as mobile suits, are wildly popular. The Gundam universe is replete with numerous storylines of love and conflict along with the popular Gundam battles, in which the characters operate robot suits called Mobile Suits.The live-action Gundam film will be penned by Brian K Vaughan. It will be produced by Vogt-Roberts with Vaughan set as executive producer. Legendary’s Cale Boyter will oversee the project along with the Sunrise creative team. The project was actually first announced in 2018 at the Anime Expo.RELATED: Sony & Netflix Ink First-Pay Streaming Licensing DealCreated by Hajime Yatate and Yoshiyuki Tomino, the franchise first started in 1979 with the TV series titled Mobile Suit Gundam. The massively popular Mecha anime and science fiction media franchise is Sunrise’s multi-billion-dollar property that has spawned a multi-platform universe encompassing televised anime, manga, animated films, video games, plastic models, toys, and novels among other media. Gundam continues to dominate Bandai Namco’s earnings almost forty years after its inception.
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    [Beyond Fest] The Wolf of Snow Hollow Review: Subversive, Offbeat & Quietly Thrilling

    Rating: 

    9.5/10

    Cast:

    Jim Cummings as John Marshall

    Riki Lindhome as Officer Julia Robson

    Robert Forster as Sherriff Hadley

    Chloe East as Jenna Marshall

    Jimmy Tatro as PJ Palfrey

    Marshall Allman as Jeremy

    Neville Archambault as Gerry

    Annie Hamilton as Brianne

    Kelsey Edwards as Liz Fairchild

    Written and Directed by Jim Cummings

    The Wolf of Snow Hollow Review:

    The werewolf genre has been all but dead for the past decade, with the iconic horror creature generally subjected to being a side character or to more gimmicky films than a straightforward piece, but with The Wolf of Snow Hollow, writer/director/star Jim Cummings has delivered a truly original and compelling new take on the classic monster that is sure to delight genre enthusiasts and general audiences alike.

    The Wolf of Snow Hollow follows a small-town sheriff, struggling with a failed marriage, a rebellious daughter, and a lackluster department, is tasked with solving a series of brutal murders that are occurring on the full moon. As he’s consumed by the hunt for the killer, he struggles to remind himself that there’s no such thing as werewolves.

    Very rarely has the werewolf subgenre elected to take a whodunnit approach to revealing just who is the person being transformed into the hairy beast and in doing so, Cummings has found a clever way to properly focus the story more on his quirky and offbeat characters and their relationships with one another rather than generic monster action and it works brilliantly. As much fun as it is to speculate and take guesses as to who might be the one terrorizing the small town, with occasional glimpses even being given as to a potential suspect, the majority of the film’s entertainment comes from seeing the writer/director’s own character John Marshall struggle with everything from a town and department lacking respect for the law to his ailing father, also the chief of police, and his defiant daughter.

    Though the writing does make it hard to connect to him or sympathize with him in moments as he lashes out at all of those around him, with some of his actions coming across as more mean-spirited than humorous, it does also give viewers a chance to understand the meaning behind the anger. He’s not just another hot-headed jerk solely for the sake of being mean, he has a lot on his mind, including a bothersome ex-wife and a fight with alcoholism, which make it a bit easier to forgive him in moments, even as he spews venom to those around him.

    While the writing for the characters is already inherently intriguing, they’re all further bolstered by wonderful performances from its cast, most notably Cummings, Riki Lindhome and Robert Forster in his last feature role. Through tragic timing, Forster’s final role has him cast as a man struggling to accept his ailing health and he plays it with a feeling of authenticity, from powerful reflections on his career and its comparison to the case to struggling to traverse the snowy terrain at crime scenes.

    Lindhome, better known for her work in the world of comedy than anything else, has made occasional appearances in the field of horror before with The Last House on the Left and Pulse remakes and she really shines as Julia, John’s biggest source of support in the department. Normally when offered a character such as Julia, be it a small town setting or big city, it develops into a romantic relationship with the male lead and yet the film offers a more interesting path by allowing her to be simply an independent woman wanting to help a friend and she brings a real warmth to the role that makes her a delight to watch.

    When we’re not following characters that feel very reminiscent of those penned by Rian Johnson or Wes Anderson, the audience is being treated to a compelling and frequently haunting murder mystery that follows in the footsteps of the early masterworks of David Fincher with just a hint of the beautifully dark world of NBC’s Hannibal. Cummings and cinematographer Natalie Kingston’s artistic eyes proved to be a match made in heaven as they bring a real voyeuristic feel to a handful of scenes and keep the viewer on the edge of their seat and guessing while others create a more intimate feel as we’re treated to some key character moments and performances, all of which add up to a beautiful film from start to finish.

    Occasional unsavory character moments aside, Jim Cummings has crafted a darkly hilarious, uniquely offbeat and wonderfully engrossing monster whodunnit with The Wolf of Snow Hollow that opens the door for fresh new takes on classic monster horror creatures.

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