Review
SHIN ULTRAMAN – Review
By Corey Kirby
Tokusatsu and Kaiju, what better a combination? Shin Ultraman, part of the Shin Japan Heroes Universe Project, is the third film in a series that takes classic Japanese media and brings it to the modern big screen. Hideaki Anno co-directed this film alongside Shinji Higuchi, as well as serving as the script writer, co-producer, and co-editor. As a result, just as with the pair’s previous project together (Shin Godzilla), this has Anno’s aesthetic and sensibilities all over it; this being evident in terms of cinematography, philosophical themes, and the score. Speaking of the score, Shiro Sagisu did an excellent job with the material used for the film. The musical score includes original material composed by Shiro Sagisu as well as reused material from previous Ultraman series such as the 1965 series Ultraman Q, along with several unused tracks from previous projects that were composed by Shiro Sagisu for Shin Godzilla and Neon Genesis Evangelion.
The Kaiju design in the film is at first about what one might expect. One thing that is immediately apparent is that although the rights to Shin Godzilla were unfortunately not worked out in time for this film, it is in spirit at least a part of the same shared universe. There is a fast-paced crash course introduction in what Japan has been having to deal with in terms of the giant monster problem, and among the first images is a Kaiju that seems to have been dispatched in a way very similar to Godzilla in the previous film. There are other easter eggs, such as the anti-kaiju weapons used later, but those are more subtle compared to this obvious nod. Personally, I prefer the idea this takes place in the same universe but your milage may vary. That said, let’s talk Kaiju design: It’s very creative. Even the throw-away giant monsters you see in the first few minutes of the film all vary a great deal in their appearance and method of wreaking havoc on the Japanese landscape. My personal favorite is Gabora, redesigned from previous Ultraman series as a monster with a face and tails in the shape of drills. The face-drill eventually splits open to reveal the Kaiju’s face underneath, complete with a radioactive beam attack that threatens to spread nuclear contamination near the waste-storage facility that was attacked previously in the film.
Second among my favorites would be Mefilas, although they are presented more as a being in the same vein as Ultraman (though still more monstrous) that can transform, rather than your standard Kaiju. Third, would be the film’s final monster: Zetton. This one was reimagined as a giant orbital weapons platform while having the silhouette of an eldritch touched, giant mechanical angel much in the style of Anno’s Evangelion series. In fact, this was exactly the kind of thing I expected Hideki Anno. The fights between Ultraman and his enemies all are of the same spirit as previous Ultraman media, but are masterfully adapted to Anno and Higuchi’s sensibilities and message. Considering the similar premise of mankind being assaulted by extraterrestrial threats in the form of increasingly bizarre and dangerous beings, Anno was perfect for this project.
Speaking of which, Anno and Higuchi’s take on Ultraman has much in common with their previous work, but succeeds in its own right as the same themes and message of Shin Godzilla are presented in a different way, so as to reiterate their point while keeping it fresh as its own film. Kaiju are commonly a metaphor for environmental concerns or natural disasters, often being awoken by disaster or damage to the environment. In particular, Shin Ultraman’s Kaiju repeatedly are used to reflect on anxieties of nuclear contamination born out of disasters such as the Fukushima Nuclear Plant Incident, and the vulnerability of Japan’s PowerGrid and energy generation.
Japan’s uncertain place in national politics and their relationship with the United States are also touched on repeatedly in the film to highlight the issue of the former’s reliance on the military support of the latter. Both attempts by the extraterrestrials in the film play on the government’s desire to gain a leg up on other nations so as to secure global power with technological superiority. There isn’t much focus on the actual handwringing and decision-making by the authorities, but more on their decisions specifically and how they could doom the human race.
Anno and Higuchi’s message seems to be that humanity can ultimately save itself by trusting in itself, and not some external force that may or may not have their own best interest at heart. Indeed, throughout the film the character Akihisa Taki (portrayed by Daiki Arioka) slowly succumbs to the absolute feeling of helplessness that was desired by the antagonist of the latter part of the film, Mefilas (entertainingly portrayed by Koji Yamamoto). He is thankfully brought out of this state of mind by the encouragement of Ultraman/Shinji Kaminaga (portrayed by Takumi Saitoh) and is able to have the vision required to develop a plan of action to defeat humanity’s existential threat. It is only through acting not out of greed and self-preservation, but through cooperation and ingenuity that mankind can save itself. It is an appeal made with a refreshing directness and sincerity that I have come to expect from Hideaki Anno that I can only regard with absolute respect. The issues alluded to in this film serve the story, and are used more as a springboard to tell a story that is informed by these things not dictated by it. The Kaiju are awakened by mankind’s damage wrought upon the environment to be sure, but this isn’t what the film is about.
The score, paired with some great classic Kaiju and Alien fighting action, serves the film well. I find myself particularly enamored with some of the older reused Ultraman tracks but find myself coming back to two tracks specifically that were composed by Shiro Sagisu. The first, “An Out of Body State” plays during the brief struggle between Ultraman and Mefilas’ true gigantic alien form. When the guitar kicks in as the two are standing off, nearly equally matched, gives the scene its edge and the feeling of struggle for Ultraman as he fights a battle he may not be able to win. The second, titled “Original Sin”, plays during Ultraman’s confrontation with Zetton. The best way I can describe this song and the feeling it gives off during this scene is ‘apocalyptic on a biblical scale’.
For those who have enjoyed older Ultraman series, Shin Ultraman is chock full of callbacks to classic Ultraman but isn’t beholden to that fan-service at the same time. It stands very solidly as its own take on the Ultraman Mythos. I think this is one of the better aspects of the film in that it engages in mythos and world building while also conforming to a 2-hour movie format that is understandable for the average viewer at the same time. From the opening crawl of the movie to the updated kaiju designs, to the blink and you miss it frame of a classic flying punch Ultraman delivers towards Zetton in the final part of the film, it’s there for those who would recognize it.
Would I recommend this film? As a child I was exposed to the Tokusatsu genre through localized versions of these heroes, such as Power Rangers, Superhuman Samurai Syber Squad, Beetle Borgs, Kamen Rider, and VR Troopers. I found myself later in life just as fascinated by the Japanese versions of these series as well. Just as Shin Godzilla did it for me so far as my itch for old-school Kaiju action, Shin Ultraman succeeded much in the same vein, except now there are superheroes. I definitely recommend Ultraman fans, Kaiju enthusiasts, and people like myself, who grew up on Tokusatsu or localized fare.
I look forward to further projects in the series.
On VOD July 4, On Blu-ray & DVD July 11. https://www.amazon.com/Shin-Ultraman-Takumi-Saitoh/dp/B0B8SZLVVH/ref=tmm_aiv_swatch_0?_encoding=UTF8&qid=&sr=
3 out of 4 stars
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