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Geek Tyrant
16-07-2025
- Entertainment
- Geek Tyrant
Robert Eggers Reuniting with Aaron Taylor-Johnson and Lily-Rose Depp For Gothic Horror WERWULF — GeekTyrant
Robert Eggers, the filmmaker behind The Witch , The Lighthouse , and The Northman , is sinking his teeth into a new project. Sources confirm that Eggers is moving forward with Werwulf , a Focus Features production that's already shaping up to be another eerie, meticulously crafted entry in his filmography. Aaron Taylor-Johnson is set to star, with Lily-Rose Depp currently in talks to join the film. Eggers will direct and co-write the script alongside frequent collaborator Sjón, who co-wrote Th As for Werwulf , the term originates from Old English and Germanic folklore, referring to a human who can transform into a wolf or a wolf-like creature. Sources say the story is set in 13th century England. The script also features dialogue that was true to the time period and has translations and annotations for those uninitiated in Old English. e Northman . With Eggers' reputation for authenticity and his ability to blend myth, history, and psychological horror, expect a very different kind of werewolf film—something primal, unsettling, and atmospheric. Focus Features is producing and financing, with Eggers and Sjón serving as producers. Chris and Eleanor Columbus of Maiden Voyage are on board as executive producers. If Eggers can do for werewolves what he did for witches and Vikings, we might be looking at a new genre classic. The film is set for a Christmas Day 2026 release in North America. What better way to celebrate the holidays than with a werewolf tale? Source: Deadline
Yahoo
28-06-2025
- Entertainment
- Yahoo
TV Anime "Jaadugar: A Witch in Mongolia" First Super Teaser Visual Revealed!
Panel Confirmed at Anime Expo 2025, Broadcast set for 2026 TOKYO , June 28, 2025 /PRNewswire/ -- Award-winning historical manga by Tomato Soup, "A Witch's Life in Mongol"—which recently made headlines with its anime adaptation announcement—will officially air in 2026 as "Jaadugar: A Witch in Mongolia". To mark the occasion, the anime's super teaser visual has also been unveiled for the first time. Currently serialized on the Souffle website, "A Witch's Life in Mongol" is a court drama set in 13th-century Mongolia. It follows Sitara (aka Fatima), a former slave girl captured by the Mongol Empire, who meets Töregene, the 6th wife of the Mongolian Emperor—who also harbors complicated feelings toward the empire. Together, they begin to disrupt the very foundation of the empire. The anime will be produced by internationally acclaimed animation studio Science SARU, known for its visually distinctive and high-quality works such as "DAN DA DAN","Keep Your Hands Off Eizouken!", and "DEVILMAN crybaby". First Super Teaser Visual Revealed! Broadcast Set for 2026! The newly revealed teaser visual features a breathtaking starry night stretching across the vast Mongolian steppe—brought to life with Science SARU's signature expressive style and color palette. This visual offers a tantalizing glimpse into the epic historical drama that awaits. Alongside the visual reveal, the anime's official website and X (formerly Twitter) account have also launched. The initial anime adaptation announcement sparked widespread excitement on social media, with fans expressing comments like, "Can't wait!" and "So excited it's Science SARU!". Stay tuned for more updates as this highly anticipated project unfolds. Official X: Official Website: Special Teaser PV: "Jaadugar: A Witch in Mongolia" Joins TV Asahi's Panel at Anime Expo 2025! "Jaadugar: A Witch in Mongolia" will also be showcased at Anime Expo 2025—the largest anime and pop culture convention in North America. The anime will be featured as part of TV Asahi's panel event. Producers Go Inagaki (Science SARU) and Kazuki Endo (TV Asahi) will have a special on-stage discussion to share behind-the-scenes insights and give fans an exclusive early look into the project. Panel Information - Event: Anime Expo 2025- Venue: Los Angeles Convention Center, California, USA- Date & Time: Saturday, July 5, 2025, 2:45 PM–3:35 PM (local time)- Location: Room 403AB – TV Asahi Industry Panel- Guests: Go Inagaki (Producer, Science SARU), Kazuki Endo (Producer, TV Asahi)- Event Website: About the Series Story Jaadugar: A Witch in Mongolia is a court drama set in 13th-century Mongolia. It follows Sitara (Fatima), a former slave girl captured by the Mongol Empire, who meets Töregene , the 6th wife of the Mongol Emperor—who also harbors complicated feelings toward the empire. Together, they begin to disrupt the very foundation of the empire. About Science SARU Science SARU is an animation production company committed to nurturing new talent and implementing cutting-edge creative technology; the company has produced projects across different mediums, including for television, film, and streaming. Some of Science SARU's best-known works include "Lu Over the Wall", "DEVILMAN crybaby", "Keep Your Hands Off Eizouken!", "Inu-Oh", "The Colors Within", and "DAN DA DAN", among others. [Science SARU Official Site]: About TV Asahi TV Asahi Corporation is a national commercial broadcaster in Japan, leading the Japanese content industry and having 23 network affiliate stations covering the nation. TV Asahi produces and airs animation such as "Doraemon" from 1979, "Shin chan" from 1992, and the more recent "The Dangers in My Heart" and "SHOSHIMIN: How to become Ordinary". TV Asahi is also actively expanding into new businesses, including the production of original anime series in India and collaborative projects with partnering studios in Korea, Thailand, Hong Kong, and the US. Manga Information Title: "A Witch's Life in Mongol"Author: Tomato SoupPreviously published: Volumes 1 (Published by AKITASHOTEN in Japan)Available on YenPresshttps:// Copyright NoticeManga Cover Art: © Tomato Soup (AKITASHOTEN) 2022Other Visuals:©Tomato Soup(AKITASHOTEN)/Jaadugar Committee View original content to download multimedia: SOURCE Jaadugar: A Witch in Mongolia Sign in to access your portfolio
The Guardian
24-05-2025
- Entertainment
- The Guardian
Braveheart at 30: Mel Gibson's gory, hokey Oscar winner plays like a biblical epic
For a storied best picture Oscar winner and dorm-wall poster staple of the 1990s and beyond, it's a little surprising how modest Braveheart's success was when it opened in theaters 30 years ago. Though it powered through a mild opening to become a solid summer hit, on the 1995 charts it sits below Father of the Bride Part II and Congo (though congratulations are in order; it did edge out both Grumpier Old Men and Mortal Kombat). Even among other Mel Gibson vehicles from the 90s, you might be surprised to learn that Maverick, Conspiracy Theory and Payback all posted stronger numbers. But Braveheart stuck around, both in theaters and in the public consciousness. It wasn't necessarily tipped as an awards contender at the time of release – Gibson had only directed one other movie, a small-scale drama called The Man Without a Face – but wound up nominated for 10 Oscars and winning half of them, including a best director prize for Gibson. He wasn't nominated for his performance, but it became a career signature, his rousing speech and blue facepaint instantly absorbed into his iconography. He plays William Wallace, a Scottish warrior who leads a rebellion against King Edward I in the 13th century, when Scotland's dead king left no heir and England swooped in to conquer. The details of the story, which positions Robert the Bruce (Angus McFadyen) as a politicking compromiser, are inspired more from an epic poem than the historical record, which presumably aided its easy-to-follow epic pull. The movie itself is sort of a print-the-legend affair, too, rather than a parade of perfect scenes. Its three hours are full of hacky touches: plummy introductory narration getting the audience up to speed on the historical context; dialogue that underlines motivations at every turn; the occasional embarrassing tribute to its star's virility; Gibson's trademark zany broadness peeking through at odd times. Worst of that material is the running subplot about the king's gay son, where Gibson sees fit to stage the scene where the king throws his son's lover out a window to his death like a grim slapstick punchline – because to Gibson, that's precisely what it is. (King Edward may be a cruel tyrant, Gibson seems to be saying, but he sure isn't weak like his mincing son!) At times the movie resembles nothing more than an R-rated version of Robin Hood: Prince of Thieves – and some accounts of its historical accuracy or lack thereof would bear out that comparison. What most people are thinking of when they think about Braveheart is a lengthy sequence in the middle of the film, where Gibson's Wallace, face striped in that memorable blue, gives his stirring speech about living a long life of regretting a lack of freedom, then leads the Scotsmen into a long and impressively gory battle, ending in triumph. Half an hour later, there's another, less victorious for the Scots, also memorably gory. And of course, the capture, torture and defiant death of William Wallace at the end of the film is a notable culmination (though by no means end) of Gibson's fixation on chronicling extensive bodily punishment, a grimmer Catholic-guilt precursor to what Tom Cruise puts himself in the name of stunts. This may have been the precise point where Gibson became better known for taking that punishment than as a romantic lead; presumably less remembered or cherished among Braveheart's fans is Wallace's unconvincing dalliance with Princess Isabella of France, played by the decade-younger Sophie Marceau. The ease of reducing Braveheart to its highlights-reel essentials makes it a throwback to the have-you-actually-watched-this-lately epics of decades earlier – not the durably brilliant likes of Lawrence of Arabia or Spartacus, but rather more akin to the biblical epics that don't get quite as much play as The Ten Commandments. Of course, that's where Gibson would go next as a director, and as surprisingly modest a grosser as Braveheart was in its day, The Passion of the Christ was shockingly huge nine years later. Yet despite that massive hit and his Braveheart Oscar in tow, Gibson's directorial career never really reached its full potential. Some of that was his own doing, as drunken, hate-filled antics came to dominate his public image right around the time he unleashed his, ah, Passion. But his peers were clearly ready to forgive (how else to explain the Oscar attention afforded to the similarly martyr-focused and gory Hacksaw Ridge?) and directing offered a clear opportunity to stay a little further from the spotlight while remaining in control of his films. His most recent project, the terribly generic (though recognizably Gibson-y) Flight Risk landed with a thud this past January. Maybe Braveheart, successful as it was in the long term, made it harder to accept Gibson as a matinee idol with flashes of intriguing darkness, and easier to see him as a passionate madman who could really draw some blood. Or maybe it was just a hard one to top in the affections of so many bros. Regardless, the movie itself re-established a beachhead at the Oscars for mega-sized epics. After the Dances with Wolves victory at the top of the decade, the anointed best pictures got a little more eclectic for a few years: horror thriller The Silence of the Lambs, elegiac revisionist western Unforgiven, Spielberg's masterly Schindler's List, the picaresque comedy-drama Forrest Gump. Braveheart came along and waved the flag for subsequent winners like The English Patient, The Lord of the Rings and especially Gladiator. Thirty years on, that style of film-making feels more distant than it did back in 1995, its resources more likely to be poured into expensive fantasy. Of course, Braveheart is its own form of expensive fantasy, too, selling the power of its own brawny dumbness. For a few hours, it summons enough powerful sweep to convince the audience that Gibson, weird hang-ups and all, might be a star for the ages.
