It takes place in a world that has been cured of all illnesses thanks to a miracle drug created by a neuroscientist, Dr. The story of Lazarus, an original product from the mind of Watanabe, will be set in the year 2052. The musical score will also feature work from the saxophonist Kamasi Washington and producer/musicians Floating Points and Bonobo. ![]() Cowboy Bebop and John Wickhave been commonly associated with each other thanks to a sequence from John Wick 4 that was directly inspired by the anime. Watanabe is not the only notable name working on the project as Chad Stahleski - a stuntman and director from the John Wick franchise - is also attached to design action sequences. Just another sacrifice to the relentless churn of the streaming machine.RELATED: Adult Swim's Primal Starts Production on Season 3 Just another sausage stuck in the grooves of the pop culture conveyor belt. It turns Cowboy Bebop into just another show. In Netflix’s update, the space and inertia so core to the anime are jettisoned for a pacy tempo that really doesn’t fit with the story. The relentless narrative that episodic television requires is another problem. With classic scenes reshot frame by frame, this fleshy adaption of Cowboy Bebop so often feels like dress-up. Or you risk spoiling every Comic Con cosplay competition for the rest of time.Īnd yet herein lies a nod to the fundamental problem with this hollow rendering of original director Shinichirō Watanabe’s vast, expansive, genre-bending vision. Few characters are as iconic as Spike, Jet and Faye, which makes it even more important to get the right people in the right roles. There’s charismatic John Cho as main protagonist Spike Spiegel Mustafa Shakir (Bushmaster in Marvel’s Luke Cage) playing ex-cop Jet Black and, best of all, we’ve got The Originals‘ Daniella Pineda as con artist Faye Valentine. His Cowboy Bebop cast, however, is stuffed with experienced talent. CREDIT: Netflixĭirector André Nemec comes to the project with a limited CV (the New Yorker is best-known as a producer-writer, never actually having directed anything before). John Cho faces off with an enemy in ‘Cowboy Bebop’. It is, at its essence, a mediation on loneliness and existential ennui – with corgis. Yes, it’s solidly sci-fi, but the western and noir influence is palpable – and there’s also a proper jazzy soundtrack, composed by Yoko Kanno (who returns for the remake). It is a work as idiosyncratic as they come. The Japanese original tells the tale of a travelling crew of bounty hunters, who zip across outer space onboard the titular Bebop in the year 2071. Humans, as any military historian will tell you, rarely learn, and so here comes the Netflix live-action adaptation of Cowboy Bebop, arguably the most beloved anime series of all time. Many who saw the hyper faithful but tediously earnest Zack Snyder porting of 2009 will surely agree. Watchmen – structurally and spiritually – was meant to be a comic, he argued. Moore, who so disliked Hollywood adaptations of his comics he would refuse to have his name appear anywhere near the big screen productions that were birthed from his brain, doesn’t dislike films – he just believes that different stories belong to different mediums. Somewhere in a lavishly decorated flat in Northampton, one suspects Alan Moore and his snake god Glycon might be nodding sagely. The message to comic book fans? Be careful what you wish for. Vaughan and Pia Guerra’s seminal 2002 end-of-days drama, Y: The Last Man – which was cancelled barely a month after its debut. Worse still was the weary realisation of Brian K. ![]() Netflix’s adaptation of Sweet Tooth took Jeff Lemire’s graphic novel and stretched it into an adaptation that said little and went nowhere. It’s been a rough 12 months for live-action imaginings of beloved hand-drawn properties.
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