Shin Ultraman

Shin Ultraman, the second entry in the Shin tokusatsu series, is an entertaining retro throwback to old practical effects kaiju films. Its special effects, shrewdly combining retro scale-model special effects and CGI, has real weight and it brilliantly creates a look of its own. However, Shinji Higuchi's direction is too matter-of-fact for its own good, rendering the film cold when there's no battles happening.

In a reimagining of the Ultraman story, giant unidentified lifeforms known as "S-Class species" begin to emerge on Earth. The Japanese government established the SSSP, the S-Class Species Suppression Protocol, to eliminate all threats.

A mysterious alien entity, dubbed Ultraman, appears to save humanity from the giant monsters.

Shinji Higuchi's last film Shin Godzilla, a satire about government bureaucracy disguised beneath a kaiju movie, was a head scratcher that played better in premise than in execution. The central gag of government staff workers endlessly running into offices drowning in the bureaucratic process, ran dry after twenty minutes.

For Shin Ultraman, writer-director Shinji Higuchi tones down that satirical voice. There's no satirical target here and thus there's less sprinting into offices but the human characters remain cardboard cut-out caricatures.

When there's no monster fight happening, the scenes are just the SSSP staff explaining what needs to be done in the most straight-faced manner with zero subtext, as if they were reading a Wikipedia summary out loud. There's no sense of who these characters are beyond their job description.

Hidetoshi Nikijima, the star of the Oscar-nominated Drive My Car, sadly has no character to play or given any life to breathe into the narrative as the head of the SSSP. With its star-studded Japanese cast, it is just a kaiju-sized opportunity wasted.

It's an odd narrative style that Shin Higuchi has chosen. The film is either complete showing or complete telling. There's no hiding exposition under natural-sounding conversational dialogue.

I fundamentally don't understand why the film is so deliberately distant and allergic to human emotions. Imagine if an alien remade Ultraman and only focused on the battles and just wanted to rush through the talky scenes. Shinji Higuchi is not an alien, but just choosing to be one for some reason.

What won me over about Shin Ultraman was the special effects, an intriguing combination of old school and modern CGI. Together with the film's retro look, it achieves a unique look of its own, especially in its kaiju battle sequences.

I have fond childhood memories of watching Ultraman and Japanese kaiju TV shows. The visual of two costumed actors fighting in a miniaturized city always looked convincing. When computer effects took over in mainstream films in the 2000s, miniatures got left behind. The weight of things was gone. I wondered why so few filmmakers hadn't combined miniatures with CGI.

In Shin Ultraman, that combination of old and new special effects is used to great effect. It retained the weight of things. Many times, my eyes couldn't distinguish whether it was a scale model or CG-it always seems in-between the two. My eyes just believed it and it viscerally transported me back to seeing Ultraman on TV when I was ten, which was amazing.

Sure, Ultraman's beam looks fake in that retro way. However, when Ultraman and the kaiju wrestle and crash into the miniature buildings, there's real weight. When Ultraman flies, it looks like a real man being pulled up into the air. When things explode, it looks like a real bomb went off.

Hopefully, movie audiences who are used to seeing Hollywood CGI blockbusters can keep an open mind and not dismiss this artistry as "retro for retro's sake". I'm glad there are filmmakers keeping miniatures alive.

Overall, I feel half and half about Shin Ultraman. It's really fun in a kitschy retro kind of way. But by the third act, I was yearning for more subtext and something deeper from the script other than what the characters plan to do next. That depth never came and it left me cold when the credits rolled.

I wouldn't sit through Shin Ultraman again in its entirety, but I'd happily watch the fights again or any special features behind the filming of the miniatures.

All those kinda negative review is almost all true and happen to me. But still there something we can enjoy like several first fight is interesting but not that memorable. CGI also not that bad its still comparable with shin godzilla. Maybe with less destruction effects. Just hoping this movie gonna revived Ultraman but for me it gonna be hard to gained new fans from this movie. Is hard because sometimes the story is good and had nice pace. But then there's some unnecessary scene, plots hole, also those romantic wannabe is really bad. Also how the camera capturing main female is disturbing for me it just really unnecessary.

5 episodes crammed into almost 2 hour of duration! For a non-fan and first timer (meaning first time watching the original ultraman or it's modern reincarnation) like me, it's quiet annoying and confusing since it doesn't give us much time to know, root, or sympathize with any of the characters. But for the fans of the original series (the 60's version), it's quiet probably gonna be a nostalgia trip with all the namedrops, the designs, and even the fight choreography that pay homage to the original source material. Love the fact that the Anno made sense some of the elements from the original series to appeal to the updated modern science and technology while making sure the movie doesn't lose its fantasy status. It's always a win to a science enthusiast like me everytime a filmmaker gets the science right or at least sounds plausible to audiences with different levels of science comprehension even though it's beyond applicable in real life.

7.5/10.

I have maybe seen a couple of episodes of Ultraman as a kid and don't even know which era it is from. So, I didn't really get any references in this. It starts off like it's a sequel to Shin Godzilla, as Japan is constantly inder kaiju attacks and the fast-paced meetings and conferences to deal with it. But it slowly changed the pace and kind of turned into feeling like a TV show. The characters are given more importance here but everyone is designed to be weird which isn't necessarily bad but as the film relies on that connection it didn't completely work either. The kaijus, the mind-controlling and shapeshifting alien villains etc seemed to be something these Tokusatsu genre films love. Even though the alien villains' plans are much like how they'd do it in the old days, the way they presented them made them feel exactly like politicians which I enjoyed really well. The film is often very silly but doesn't really embrace that and even tries to be philosophical at times which just feels like a confused attempt more than anything. Not a bad start of the year, but a bit disappointing considering the reputation of these films.

Best known for creating the popular anime 'Neon Genesis Evangelion.' Hideaki Anno serves as writer, co-producer and co-editor in this new adaptation of the 1960's character Ultraman. An extraterrestrial "dubbed" Ultraman crash lands on Planet Earth and becomes humanity's sworn protector, with the aid of the S-Class Species Suppression Protocol (SSSP) established by the Japanese government.

Modern Japan has evolved into a new battleground for giant creatures known as "Kaiju" to wreak havoc. Upon taking human form and living as one with the population to have an understanding of the human species. Ultraman concludes that mankind is worth dying for, and altruistically risks his life for the greater good. The audience is treated to bombastic action sequences, well-baked choreography and various fighting techniques from our champion which raises the entertainment value. The CGI is pretty outdated and don't translate well in certain scenes. But I wanted to overlook this flaw as I was devoted towards immersing myself in this universe. A large criticism I have is the narrative's lack of coherency. It contains an episodic structure where five stories are condensed into one feature. Making it difficult to engross ourselves into the storyline with too many subplots and a heavy amount of exposition to follow. This made the experience a bit tedious to say the least.

Despite the underdevelopment of the characters, they were likable as they had specific traits that helped them stand out. Whether it be Takumi Saitoh as the determined Ultraman or Masami Nagasawa as newcomer Hiroko Asami, delivering a humorous and charismatic portrayal of his "buddy" within the SSSP. Her onscreen presence was a favorite of mine. As the credits began to roll, I yearned for more substance due to the interesting premise. The storyline could have had a broader impact on the viewer, if fleshed out by the writer.

IG: thecinephilereviews.