It’s easy to fall in love with Shin Ultraman’s ‘strange good’ energy [Fantastic Fest]

Unlike its spiritual predecessor “Shin Godzilla,” which brought the King of Monsters back with waves of outrage, satire, and horror, “Shin Ultraman” is deliberately old-fashioned. Its irony is at the forefront (Japan’s leadership is depicted as frequently bowing to the greater powers, whether they are Westerners or extraterrestrials), but it’s all light. softer, window dresser than the point of view of the whole thing. The real focus is on getting Ultraman (delighted through an old-school “man in a suit” performance) early and often, testing his limits and letting him serve as a beacon. beacon of hope to a world perhaps not worthy of him. Hideaki Anno, who co-directed “Shin Godzilla” with Higuchi, returns as a screenwriter here, and his script is a lot more like “Rebuild of Evangelion” than the original “Evangelion” formula – despite the species. people have a tendency to make poor choices. We will become better.

It was this spirit that kept me hooked on “Shin Ultraman” even as it kept spinning in weird directions seemingly leaving the fans in the audience raving and me completely confused. I know I’m looking at a love letter, but I can’t decipher it. This is simply not as accessible as “Shin Godzilla”, a movie I would recommend to any kaiju neophyte. This one requires a large asterisk.

But like I said: I can’t help myself not to dislike this movie even a bit, given its doable attitude and strong “good chaos” energy (forgive the term Dungeons & Dragons). Higuchi and Anno are less concerned with structure or coherence and more concerned with jamming in as many Ultramans things the better, and having the game support a cast of mere mortals provides redundancy. Even as the series becomes more and more episodic and scattered, culminating with colorful cosmic action sequences that hurt my brain, it’s all the same… pretty. It’s easy to fall in love with Shin Ultraman’s ‘strange good’ energy [Fantastic Fest]

Fry Electronics Team

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