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1. #KAMEN RIDER DECADE NEW FINAL FORM MOVIE#
2. #KAMEN RIDER DECADE NEW FINAL FORM FULL#
3. #KAMEN RIDER DECADE NEW FINAL FORM SERIES#

During one such attack, the SSSP’s reclusive executive strategy officer Shinji Kaminaga (Takumi Saitoh) goes missing trying to rescue a child from the danger area just as a 60 foot tall humanoid alien descends from the sky to miraculously take out the monster.

#KAMEN RIDER DECADE NEW FINAL FORM SERIES#

(In fact, one of Anno’s earliest director credits was his short fan film Daicon Film’s Return of Ultraman with himself in the titular role.) In the wake of a series of escalating kaiju attacks, the Japanese government forms the S-Class Species Suppression Protocol (SSSP), composed of a team of brilliant agency misfits a’la Shin Godzilla. Written, edited, and produced by Anno, Shin Ultraman is a cinematic reimagining of the ’60s Ultraman television series Anno grew up on. Though Anno bequeathed directing duties to his long-time creative partner Shinji Higuchi to finish work on Evangelion 3.0+1.0, Shin Ultraman is undeniably a Hideaki Anno film. Ultraman/Shinji Kaminaga (Takumi Saitoh) mid-battle with an evil alien doppelganger in Shin Ultraman. Both feel like a pre-MCU return to form for superhero movies, spiritually akin to Sam Raimi’s Spider-Man films in their total and unquestioning acceptance of the inherent goofiness of caped crusaders. What’s distinctive about both Shin Ultraman and Shin Kamen Rider - when compared to the glut of green-screen dependent capeshit - is not only the tactile craft on display, but Anno’s clarity of vision regarding both of them as a filmmaker and a die-hard fan himself. Despite going in pretty much blind to both movies, my robust working knowledge of Hideaki Anno’s filmography and the various influences he pulled from to create Evangelion meant I wasn’t completely lost at sea. Neither Ultraman nor Kamen Rider have the same cultural purchase as Evangelion or (and especially) Godzilla in the West, so these films will be the first introduction for many to the character. Though both are filmic adaptations of beloved and long-running tokusatsu shows in Japan. The two newest entries in the Shin Japan Heroes Universe, Shin Ultraman (2022) and Shin Kamen Rider (2023), received limited state-side theatrical releases courtesy of Fathom Events this year.

It’s exhausting to say the least, especially when they all employ the same overtly insecure lampshading, grating Whedonspeak, and anemic nods to political realism characteristic of every post-9/11 superhero flick since Iron Man inaugurated the whole enterprise in 2008. And mind you, this trend towards shared universes isn’t a noble experiment in narrative or cinematic storytelling, but a machine-like money making endeavor that seeks to fatten as many executives’ pockets as possible while the creators who made these superheroes often languish in poverty or worse.

#KAMEN RIDER DECADE NEW FINAL FORM MOVIE#

Not even long-standing rivalries between movie studios can prevent the totalizing and financially lucrative impulse towards shared universes - Spider-Man’s joint custody between Sony and Disney’s MCU has resulted in several filmic iterations of the web-slinger who now all get to team up on screen together for the infantile pleasure of undiscerning audiences worldwide. It’s no secret that I’m critical of the current state of cinema, beholden as it is to “realistic” adaptations of comic book IPs and the now used-and-abused conceit of the “multiverse” as a transparent marketing grift yoking every superhero property together. Apart from a vague - if not deliberately parodic - suggestion of continuity between Shin Godzilla and Shin Ultraman, all of these films are stand-alone entries whose only commonality is Anno’s creative oversight and the moniker of “Shin” (シン) in their titles.

#KAMEN RIDER DECADE NEW FINAL FORM FULL#

Helmed by Anno and several of his Evangelion collaborators (including fellow anime director Shinji Higuchi), the SJHU is more or less a traditional branding opportunity for tie-in marketing than a full fledged cinematic universe a’la the MCU.

Released to widespread international acclaim, Shin Godzilla (released as Godzilla Resurgence in the US) was retroactively designated the first entry in the Shin Japan Heroes Universe (SJHU), a collaborative endeavor between Anno’s Studio Khara, Toei, Toho, and Tsuburaya Productions adapting several beloved Japanese tokusatsu franchises to the big screen. The creative mastermind behind Neon Genesis Evangelion didn’t just stick an unprecedented landing with the emotionally-charged finale to his Evangelion reboot tetralogy Evangelion 3.0+1.0: Thrice Upon a Time, but he did so off the back of his politically-charged 2016 Godzilla reboot Shin Godzilla.

Hideaki Anno has more than earned the right to do whatever he wants. Kamen Rider (Sosuke Ikematsu) delivers his signature mid-air kick in Shin Kamen Rider.