Tag Archives: Hideaki Anno

Shin Godzilla (2016, Higuchi Shinji and Anno Hideaki)

Shin Godzilla is the story of hard-working bureaucrats responding successfully to a national crisis. When the giant monsters invade, you can’t do better than the able public servants of Shin Godzilla.

And for most of the film, directors Higuchi and Anno pull it off. The first act of the film, with the introduction of the unlikely new Godzilla, races–Anno edits with Sato Atsuki and they don’t slow down until it’s time for a full stop. There’s a lot of humor to Shin Godzilla, but it’s entirely for the viewer. The characters don’t get a break or a laugh or even regular smiling. They stoically battle the apocalypse, whether it’s a giant monster or the U.S. government externally unwanted pressure on Japan.

Shin Godzilla avoids politics. Way too much. But it does have this steady mistrust of the United States. It’s too bad too, because the U.S. shows up in the second act with all sorts of Godzilla info and those information dumps are a mess. On one hand, Anno doesn’t want to take the kaiju thing too seriously. He knows he’s got disbelief suspended by this time, so why not rush through some really silly origin stuff. There’s a portents to Shin Godzilla, which the directors pull off (thanks to the actors, thanks to the editing), but Anno doesn’t have a sense of humor about it. After the almost goofy first act–which transitions masterfully into the second act through montage–it seems like Shin is going to be something special.

Except it never gets there. For two hours, the movie keeps promising something more in a few minutes, delivering an almost perfect moment here and there, but always dragging it out. The second act is lead Hasegawa Hiroki dragging the cast of hundreds through the clumsy introduction of new ideas, new mutations, new characters.

Shin Godzilla has a hundred speaking parts. Maybe. It has a lot. It’s this rapid fire political thriller thing, only instead of a nuclear war, they’re fighting this giant monster. Every once in a while, there’s a “Godzilla moment” with the giant monster and the film seems to be moving more towards something to do with Godzilla symbolically. Even self-referentially. Anno and Higuchi use some classic Godzilla music, but they don’t do much else referential. The locations, sure, but it’s supposed to be scary. Godzilla’s supposed to be dangerous.

And Godzilla does do some serious damage, which the film completely ignores in terms of human casualties. There’s maybe one tragic scene, early on, when it seems like Shin Godzilla still might go somewhere else–into the cellphone footage, into the lives of the displaced–but then it doesn’t.

Instead, the film introduces Ishihara Satomi. Ishihara is the half-Japanese, half-white American daughter of a U.S. senator who’s on her way up the ladder in Washington. She’s also a bit of a party girl, because she’s rich. Ishihara does okay with some of the part. She’s bad at the English deliveries, which immediately kills the cinema verite the directors try to keep going. She’s got too much character for the movie and nothing to do with it. If Ishihara were better, the character not be such a drag. But Ishihara’s just fine, not phenomenal. Again, she gets no help from the directors. Maybe one of them told her to play flirty with Hasegawa and the other said not to play flirty with him.

As for Hasegawa, he’s a great lead. His character is a young, bright, impetuous staffer who just wants to do good. He wants to be Justin Trudeau. Ishihara wants to be Hillary. Except to change political analogies, Ishihara’s character is more the Mandy Hampton part.

Everyone else is great because they aren’t in it too much. If the performance is broad, the actor is gone pretty soon. By the time they’re back, they’re now a familiar face and they’re welcome. It perpetuates. It’s a very well made film. Until the third act, at least. The sludge second act seems like it’s building, through monotony maybe, but definitely intensifying. Because it’s so well-made. Then it collapses and Shin Godzilla just gets heavier and heavier.

Anno, in the script, tries to keep it light. He tries to play up the characters as familiar to the audience, but the film’s lost its teeth. If you’re going to deus ex machina, put it in the right spot and don’t try to drag it out two weeks in the present action. Because the directors break Shin Godzilla. For a better part of its runtime, it could’ve gone somewhere. But Anno and Higuchi don’t want to take it anywhere.

Except as a politician positivity message.

2/4★★

CREDITS

Directed by Higuchi Shinji and Anno Hideaki; written by Anno; director of photography, Yamada Kosuke; edited by Anno and Sato Atsuki; music by Sagisu Shiro; produced by Satô Yoshihiro, Shibusawa Masaya, Ueda Taichi, and Wadakura Kazutoshi; released by Toho Company Ltd.

Starring Hasegawa Hiroki (Yaguchi), Takenouchi Yutaka (Akasaka), Ishihara Satomi (Kayoko Ann Patterson), Ôsugi Ren (Prime Minister Okochi), Emoto Akira (Azuma), Kôra Kengo (Shimura, Deputy Chief Cabinet Secretary), Ichikawa Mikako (Ogashira, Deputy Director of Nature Conservation Bureau), Kunimura Jun (Zaizen, Integrated Chief of Staff), Pierre Taki (Saigo, Combat Leader), Shimada Kyûsaku (Katayama, Minister of Foreign Affairs), and Mitsuishi Ken (Kozuka, Governor of Tokyo).


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Neon Genesis Evangelion: Death & Rebirth (1997, Anno Hideaki, Masayuki and Tsurumaki Kazuya)

Just over the first half of Neon Genesis Evangelion: Death & Rebirth is all right. It’s a compilation of episodes from the “Neon Genesis Evangelion” television show, expertly edited by Miki Sachiko. There’s very little exposition, with all the backstory on the giant monster fighting–but not really giant monsters, kind of giant cyborgs–coming in as the first half progresses. It’s far from perfect, but it’s all right. It moves. And Miki tries to give it a narrative.

Miki gets the credit–along with the director of the first half, Masayuki–because the rest of Death (being the first half of the film) is a bit of a gross mess otherwise. Anno Hideaki and Satsukawa Akio’s script is all about these three kids, two girls, one boy, charged with piloting the titular Evangelion. They’re giant cyborg mechs fighting Angels, which aren’t just called Angels, they’re apparently humanity’s ancestors. Just reformed as giant monsters. Again, there’s no exposition, there’s no time for it. I’m sure the actual show has the entire backstory. But it wouldn’t help things, not get out of the gross.

The boy’s a little bit of a pervert. His dad has some creepy relationship with one of the girls, who the boy also lusts after; she’s some kind of clone or something. The third girl gets nothing to do in the first half except to imply drama without actually causing it (Miki’s got twenty-four episodes to cut together after all). In the second half, she gets more to do as far as action, but she also gets to get perved on while unconscious by the boy.

Also, all the adult women around these kids are grossly characterized too. I’m not sure I’ve ever seen something so misogynist with so much lip service paid to missing mothers. And all that lip service is from the female characters. Dudes could care less. The boy’s got perving to do, plus he’s not vicious enough so his dad’s got to help him kill.

Neon Genesis Evangelion: Death & Rebirth is also effective, at least in the first half, when it’s violent. Masayuki’s a fine director.

Now, the second half. The second half, the Rebirth part, is only about thirty minutes. Thirty crappy minutes. Thirty poorly directed, poorly edited minutes. Even with the problematic conclusion to the first part–oh, right, the boy’s also got a serious crush on the wrong boy, which is unrelated to why he molests a girl in the first scene of the second part–the first part has some amazing narrative efficiency thanks to Miki’s editing and is occasionally stunning. Fantastic use of music, for example. And Masayuiki’s a fine director.

Tsurumaki Kazuya directs the second part. Tsurumaki isn’t a fine director. Tsurumaki is a bad director. Especially after the first part.

Neon Genesis Evangelion: Death & Rebirth succeeds at disappointing, which is something since it doesn’t exactly start off promising much.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Anno Hideaki, Masayuki and Tsurumaki Kazuya; written by Anno and Satsukawa Akio; directors of photography, Shirai Hisao and Kuroda Yōichi; edited by Miki Sachiko; music by Sagisu Shiro; production designer, Okama; produced by Kadokawa Tsuguhiko; released by Toei Company.

Starring Ogata Megumi (Ikari Shinji), Hayashibara Megumi (Ayanami Rei), Miyamura Yûko (Sôryû Asuka Langley), Mitsuishi Kotono (Katsuragi Misato) and Tachiki Fumihiko (Ikari Gendô).


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