In 2016, Toho Studios rebooted their beloved Godzilla franchise with Shin Godzilla, which may have over-relied on political conversations, but it takes the presence of an atomic-breathing lizard seriously as it tries to be relevant with the tragedies of modern Japan, as well as looking back at its 20th century history. As we are expecting another live-action Godzilla instalment from Japan to be released later this year, the makers of Shin Godzilla have set their eyes on rebooting another kaiju franchise with Shin Ultraman.
Unlike Godzilla, which has crossed paths with the West numerous times, such as Legendary Pictures’ MonsterVerse, the Ultraman franchise is not as well known, though we have had things like Netflix’s 3DCG anime series and Marvel’s comic book, both of which are ongoing. With only limited screenings, Shin Ultraman won’t catch mainstream attention, but will grab the interest from fans of all things Tokusatsu.
Opening in a similar fashion to Guillermo del Toro’s Pacific Rim – a movie that was heavily inspired by the Tokusatsu genre – Shin Ultraman begins following the invasion of several kaiju. The Japanese government establishes the S-Class Species Suppression Protocol to eliminate further threats. During one kaiju attack, the extraterrestrial Ultraman arrives to battle the monster. After accidentally killing Shinji Kaminaga (Takumi Saitoh), Ultraman decides to take on his appearance and place at the SSSP to protect Earth from further threats.
With your hero being both human and alien, Ultraman/Kaminaga is not the most charismatic protagonist as Takumi Saitoh delivers an emotionally reserved performance, with his co-stars who play the few members of the SSSP having more of an upbeat attitude. As the titular alien and the agency confront numerous threats throughout the film, the structure is oddly problematic. Written by Hideaki Anno – who has various positions and is thus a guiding force, alongside director Shinji Higuchi – the film has an episodic nature. Each antagonist that appears has its own narrative, and so any time Ultraman faces them in a traditional kaiju battle, every action sequence feels like the climax, and thus the pacing can be off.
If you didn’t like the talking heads that dominated Shin Godzilla, Shin Ultraman follows the same trend of political debates, but with discussion about extraterrestrial life being a presence among us, threat or otherwise, instead. However, unlike Godzilla, which was about the Japanese government looking at its historical mistakes and finding a way to victory in the present, Ultraman shows how the government can be feared, but also attracted by the technology from various aliens, even if the aliens’ motivations are not for the Earth’s best interests. Still, one should never take the politics of the film too seriously, as some of the aliens have their comical moments despite their evil intent.
In the end, it’s all about the giant monsters fighting each other and given the director’s previous experience in the genre, the special effects may not have the Hollywood polish, but maintains the retro cheesiness that make these kaiju battles a delight. Given Anno and Higuchi’s involvement in Neon Genesis Evangelion, its influence is apparent in this movie, not least with the actual climax that could have easily been an episode from that anime. While you can praise Shin Ultraman for leaning into that influence, it also creates excitement for Anno writing and directing the upcoming Shin Kamen Rider.
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