Before we get into this review, I think I need to make one thing absolutely clear: I am by no means obscene. Ultraman A fan (not a hater). While I know the basics through cultural osmosis – the basic plot and some monsters – the only one Ultraman I have ever watched is the last Netflix anime – a major reimagining of Franchise. So, if you are looking for a review of Ultraman by fans Ultraman Fans, I’m afraid this review won’t be much helpful. Instead, this review is for people to come Ultraman Newborns – or big fans of it Hideaki Ano and its basic works Neon Genesis Evangelion And Shane Godzilla.
Shane Ultraman It is, frankly, a strange movie. In fact, it often feels more like a four-episode TV series than a coherent movie. Each quarter of the film has its own story and distinct themes. The first is Ultraman’s arrival and focuses on introducing the characters and the kaiju-filled world in which they live. The second deals with Zarrab and is a comment on the human fear of the unknown and how quickly we can turn on our heroes. The third arc focuses on Mefilas and how we tend to foolishly believe what we want to believe instead of accepting inconvenient facts. The final fourth chapter of the film presents the confrontation with Zeitoun and explores our ability to hide amid apathy and ignorance rather than facing problems head on.
Overall, each distinct section of the movie is well handled and gives a useful exploration of its themes. Unfortunately, the film’s episodic structure means that it has quite a few cross-cutting themes – and those in it have largely failed because of that structure. One such theme is the government’s incompetence – how it never seems to learn its lesson and is doomed to endlessly repeat its mistakes. Unfortunately, this topic is treated as little more than a recurring comedy beat rather than a larger analysis of the problem.
The main theme of the film, the power of friendship, was a little better. Centered around Ultraman and his SSSP partner Asami, their relationship is supposed to form the basis for the film’s climax – and explains why Ultraman feels the need to protect humanity, regardless of the consequences. The problem is that Ultraman and Asami actually share very little screen time. In fact, for more than half of the film, he was not in contact with SSSP in general – including Asami. They simply don’t have a real chance of forming such a lively friendship – no matter how much Asami broaches the subject in passing. The number of conversations they have in the movie can be counted from one side.
On the visual side of things, from the kaiju design to the gigantic prototype of the spacecraft established at SSSP headquarters, it’s clear that the people behind them Shane Ultraman (i.e. screenwriter Hideaki Ano and the director Shinji HiguchiThey have an unbridled love for TV shows of their youth in the 60s and 70s. A visual style that blends modern filmmaking technology with the tokusatsu techniques of the past five decades emerges. Honestly, the movie makes for wonderfully enjoyable viewing in every action scene (even if CG can look budget-friendly compared to a major Hollywood production).
Outside of the action scenes, most of the film is lengthy discussions between members of the SSSP. The writing itself is strong enough – it puts in just enough comedy and character to get your attention. However, what really sets these dialogue scenes apart is trying to keep them visually interesting. Far from a simple reverse shot, with an almost spoken sentence, the camera turns into a strange new angle – one moment, the camera will be a laptop’s webcam, the next it will be under a table looking between someone’s legs. Likewise, the Asami’s intro scene – which has a handheld camera that follows it from behind as it enters the SSSP – is so shaky that I got a bit motionless while watching it. So, while photography is undoubtedly creative and can be fun, it is so distracting that you are taken out of the film.
As for the music, it’s basically a combination of what you expect to hear when you watch Evangelion And the soundtrack to the ’60s and ’70s Tokusatsu Shows. It perfectly matches what you see on the screen and expertly matches the classic-inspired visuals.
In the end, Shane Ultraman It’s a totally watchable movie – although far from a great movie. It’s clear that an extraordinary amount of creative freedom was given to the creators which made the film reach its highs and lows. When it comes down to it, I can’t help but feel it Shane Ultraman It should be a TV series, not a movie – just like the production it’s based on. What we’re left with is a movie that tries to do too much and leaves us with too little. However, as a love letter to Ultraman and appearing like it half a century ago, it does well enough. It’s a nostalgic sight and it’s easy to see why there are files Franchise It is still popular today.