Ray Gunn

Ray Gunn is an upcoming adult-oriented animated neo-noir science fiction film directed by Brad Bird, his first original animated feature since Ratatouille in 2007. The film is set in Metropia, a retro-futuristic Art Deco metropolis envisioned from the perspective of 1939, where flying cars zip between crystalline skyscrapers, jetpacks are everyday accessories, and holograms flicker in black and white. Aliens and robots coexist with humans in this gleaming yet gritty world, blending the optimism of Buck Rogers with the hardboiled cynicism of 1940s detective fiction.

The story follows Raymond Gunn, a world-weary private eye voiced by Sam Rockwell, who is pulled into a murder case that entangles a mysterious pop star named Venus Nova, voiced by Scarlett Johansson. As Gunn navigates the glittering entertainment industry and the shadowy underbelly of Metropia, he uncovers a conspiracy involving alien immigration, corporate corruption, and the manipulation of public perception. The film features a cast that also includes Tom Waits as the enigmatic Eyera, with a score by longtime Bird collaborator Michael Giacchino.

Brad Bird first conceived Ray Gunn in the mid-1990s, before his directorial debut with The Iron Giant, but the project languished in development hell for decades. It was revived at Skydance Animation and is co-produced with Cinesite Animation. The film has been described by Bird as The Maltese Falcon meets Buck Rogers, promising a sophisticated, mature story that challenges the notion that animation is exclusively for children. [edit]

Ray Gunn opens in the sprawling retro-futuristic metropolis of Metropia, an alternate future as imagined from the vantage point of 1939. The city is a dazzling Art Deco wonderland where flying cars stream through crystalline skyscrapers, jetpacks are commonplace, holograms flicker in black and white, and alien creatures have integrated into the melting pot of society. This world feels simultaneously nostalgic and forward-looking, blending the squeaky-clean optimism of Buck Rogers with the gritty, hardboiled sensibility of 1940s pulp detective fiction.

The film follows Raymond Gunn, a world-weary private eye operating out of a modest office in the gleaming heart of Metropia. Gunn is a classic noir archetype — a man who has seen too much, drinks too much whiskey, and carries the weight of cases that have left their mark on his soul. His world is populated by robots, aliens, and humans living side by side, yet the fundamental human dramas of betrayal, greed, and murder remain unchanged.

Gunn's routine existence is shattered when he is drawn into a case involving a high-profile murder, extraterrestrial intrigue, and a mysterious multimedia star named Venus Nova. Venus is a pop star of immense fame and complexity — a holographic celebrity whose public persona may mask dangerous secrets. The case pulls Gunn through the glittering upper echelons of Metropia's entertainment industry and down into its shadowy underbelly, where alien refugees, corrupt officials, and robotic enforcers collide.

As Gunn investigates, he encounters a cast of characters that includes Eyera, a gravelly-voiced figure who seems to know more than he lets on, and other denizens of this strange world. The central conflict revolves around a murder that connects to a larger conspiracy involving alien immigration, corporate malfeasance, and the manipulation of public perception through celebrity culture. Gunn must navigate a labyrinth of lies, holographic deceptions, and double-crosses to uncover the truth.

The story beats follow a classic noir structure: the initial client meeting, the discovery of the body, the interrogation of suspects, the chase through neon-lit streets, and the mounting sense that nothing is as it seems. Bird has described the film as The Maltese Falcon meets Buck Rogers, suggesting a MacGuffin-driven plot where the object of desire may be less important than the people chasing it. The detective work involves decoding alien languages, following holographic trails, and confronting the uncomfortable truth that in Metropia, reality itself can be manufactured.

The film is described as adult-oriented animation — not necessarily R-rated, but clearly aimed at mature audiences who appreciate sophisticated storytelling. Bird promises it's a good popcorn movie while acknowledging it pushes against the notion that animation is exclusively for children. The tone balances hardboiled cynicism with moments of wonder, reflecting Bird's signature ability to blend emotional depth with thrilling action.[edit]