Known for creating the landmark anime series from the ’90s, Neon Genesis Evangelion, Hideaki Anno has never strained too far away from his creation, whether it is him doing the Rebuild of Evangelion movies or applying a lot of those aesthetics to his Shin Japan Heroes Universe, which reimagines renowned science fiction franchises in Japan. After writing and co-directing 2016’s Shin Godzilla, and solely writing 2022’s Shin Ultraman, his latest entry reinvents the iconic Tokusatsu franchise with Shin Kamen Rider, which is now available on Prime Video.
Considering the many variations there have been since the 1971 television series, the Kamen Rider franchise never quite captured the attention of Western audiences in the same way that Godzilla did, though we wouldn’t have Power Rangers if not for things like Kamen Rider. That said, if you are expecting camp theatrics to be enjoyed only for the kiddies, Shin Kamen Rider is a moodier piece than you would think.
The story centers around motorcyclist Takeshi Hongo (Sosuke Ikematsu), who is kidnapped by SHOCKER, a sinister organization that transforms humans into brainwashed synthetic animal hybrids known as Augments. Before being brainwashed, but after his conversion into a mutant cyborg, Hongo is set free and so along with Ruriko Midorikawa (Minami Hamabe), a former SHOCKER member, the two attempt to annihilate the organization and stop their plans to conquer society.
From its opening action sequence where the eponymous hero first shows off his super strength that causes evil henchmen to spurt out blood after a single punch, Shin Kamen Rider is not attended for younger audiences. And yet, despite its modern setting, Anno as writer-director maintains that ’70s camp whether it is the design of the numerous villains – including a scientist that is part-bat as it flaps his wings in a silly manner – or the recurring inclusion of the original Kamen Rider theme song. The action sequences themselves try to maintain those silly theatrics, though the handheld camera work can be tough to decipher them. The modern visual effects, don’t look as polished by Hollywood standards.
Like Shin Ultraman, the narrative is very episodic, in that Hongo and Ruriko confront one SHOCKER agent after another, each with their own animalistic theme, though there isn’t much characterization, including Nanase Nishino’s Wasp-Aug, a childhood friend of Ruriko’s. The focus is towards the central duo, who may initially seem cold towards one another, but actors Sosuke Ikematsu and Minami Hamabe find those emotional beats as one character learns about being human from the other.
Along with the theme of maintaining one’s humanity in a world that is increasingly more inhuman, this is a Hideaki Anno movie, both thematically and visually, especially for those who have seen the aforementioned Evangelion or the previous Shin installments. While there are stunning status shots showcasing the landscapes, there are many close-ups of characters, whether it is during the scenes of expository dialogue, or in their most emotional moments where their silence speaks louder.
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