![]() Rather I’ve always found the Apocalypse to be highly entertaining. Not in the Heaven’s Gate/Aum Shinrikyo/Dale Earnhardt death-cult sort of way. Voices: Spike Spencer, Jerry Jewell, Tiffany Grant, Allison Keith-Shipp, Trina Nishimura, Kent Williams, John Swasey.Since the age of 11, I’ve been fascinated by the end of the world. Camera (color), Toru Fukushi music, Shiro Sagisu editor, Hidemi Lee chief animation director, Kiyotaka Suzuki art directors, Hiroshi Kato, Tatsuya Kushida animation producer, Toshimichi Ohtsuki main character design, Sadamoto Yoshiyuki main mechanics design, Ikuto Yamashita casting, Kanako Arima. Screenplay, Hideaki Anno, based on "Neon Genesis Evangelion" by Anno, Yoshiyuki Sadamoto head writer (English version), John Burgmeir. ![]() Produced by Carly Hunter, Justin Cook, Michael Harcourt. Executive producer, Gen Fukanaga.Ĭhief director, Hideaki Anno directors, Masayuki, Mahiro Maeda, Kazuya Tsurumaki. English version: A Funimation Entertainment production. Produced by Hideaki Anno, Toshimichi Ohtsuki. (Japan) A T-Joy (in Japan)/Eleven Arts (in U.S.) release of a Khara production. Running time: 95 MIN. Original title: "Evangerion shin gekijoban: Kyu" ![]() As a showcase for pure visual ingenuity and splendor, though, it rocks.įilm Review: ‘Evangelion: 3.0 You Can (Not) Redo’ (The witty mechanisms were designed by Ikuto Yamashita.)Īs a narrative, “Evangelion 3.0” may make you feel your brain is turning into goat cheese. The deployment of each new technological marvel - such as the space battleship Wunder, which has decks and wings bristling in all directions, like a giant robot’s Swiss army knife - has an operatic sense of scale. The images were created as a hybrid of hand-drawn and CG animation that allows complete fluidity of movement, with shots that swoop all around and though the ingeniously complicated machinery. The movie can be enjoyed on a purely visual level, as a Mecha head trip. Strange twists that pay off include the creepy-crawly Oedipal revelation that the computer operating system in Shinji’s giant Eva is the consciousness of his mother, downloaded and installed (in a manner never specified) by Shinji’s dad. It strains credulity that the only colleague who ever loses patience with Shinji is Asuka Langley Soryu (Tiffany Grant), a one-eyed Valkyrie in red body armor whose short fuse boosts the movie’s energy level. Here, Shinji’s distress at the additional destruction that has been visited upon the world in his absence is at once understandable and a dreary drag on the narrative. The amount of heartache and navel gazing indulged in all the installments of “Evangelion” has always been a sticking point for non-fans. The splinter group Wille, which includes several of Shinji’s former comrades-in-arms, is attempting to prevent this. The original group, Nerv, commanded by Shijni’s father, has launched the Human Instrumentality Project, which seems to be a genocidal purge designed to jumpstart evolution. The original “Evangelion” series was considered groundbreaking in spending quality time on metaphysical and religious brow furrowing, and on the characters’ emotional problems, almost giving short shrift to the staple ingredient of two-fisted robot-on-monster action. In “Evangelion: 3.0,” Shinji (voiced by Spike Spencer in the English-dubbed version reviewed) awakens after 14 years in suspended animation in deep space and becomes a pawn in an intramural conflict between two factions in the anti-Angel defense forces. (The Mecha subgenre that includes “Evangelion” was a leading influence on Guillermo del Toro’s “Pacific Rim.”) The robot is the only weapon that can stand up against a mysterious race of giant humanoid monsters, the Angels, that have popped up from God-knows-where to repeatedly attack Tokyo. The saga focuses on a chosen teenager, Shinji Ikari, a highly reluctant hero whose issues with his stern military father take a strange turn when the elder Ikari calls his son to Tokyo to pilot a giant robot (known as an Eva). The current release is the third in a series of four new movies, launched in 2007 and known collectively as “Rebuild of Evangelion,” that retell the story of the original series, with some fairly drastic plot revisions. ![]() It was followed closely by two feature films, “Evangelion: Death and Rebirth” (1997) and “The End of Evangelion” (1997), which were intended to repair the damage inflicted by a mystical mumbo-jumbo ending even more extreme than the “Lost” finale. The brainchild of just one man, veteran anime writer-director Hideaki Anno, the “Neon Genesis Evangelion” franchise began as a 26-episode TV series broadcast in 19.
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