Shin Masked Rider

The movie starts pretty strong, with a good fighting scene and the introduction of the Shin Kamen Rider who basically pays homage to the original Kamen Rider from 1971. Sadly, after the strong start, things started to go downhill slowly. The plot became cringy and the fan favorite Kamen Rider was more of a secondary character since they were focusing a lot on someone else.

When it comes to the fighting scenes, they weren't good, it's like they were inspired by animes like Dragon Ball Z and Nartuto, it doesn't sound too bad, but the CGI felt like I was playing a few years old PC game. Was it really that hard to make good fighting scenes like in the other Kamen Rider movies and shows?

The cast, the acting, the costumes, the bikes and the music were great, and the kid from The Last Samurai is actually our Kamen Rider.

Unfortunately, I wish I did something better with my time, compared to Shin Godzilla, the movie is a huge letdown. I'm giving it 5 stars because of the nostalgia factor and the positive things i mentioned above. It really pains to give such a low score to a Kamen Rider movie.

One can't step very far into exploring Japanese film or television without stumbling across 'Kamen Rider' and related tokusatsu fare. Finding a suitable point of entry for the neophyte is another matter, though, and with that in mind, I do not envy Anno Hideaki for the task he took up with this movie. Rebooting a major, fifty-year old franchise, with many series and off-shoot features, retaining core qualities while updating it for modern audiences, providing ample elucidation of necessary plot and lore (or at least, interpretation thereof), and keeping it all fast-paced and action-packed: more famous filmmakers with bigger budgets have attempted much the same, to very mixed results. There are many paths by which to pursue such goals, however, and I wonder if Anno didn't actually choose the smartest one. I'm not saying that 'Shin Kamen Rider' is perfect or essential, and I'm not familiar enough with the previous works in the franchise to fully remark on faithfulness, but overall I'm quite pleased with how well made this is, and I think it's a pretty good time!

The secret to Anno's success here can be summed up as "just go for it." We're thrown headlong into the plot from the very start with one big action scene, then an even bigger one, and then loads of exposition, all within the first twenty minutes or so. This flick has no care for grandiosity, emphasis of snarky humor, or nods to the past; it is unflinchingly direct and straightforward, offers subtle, cheeky wit only occasionally and in passing, and charges ahead without looking back. Partnerships are formed without question, and information is divulged without blinking; lines are delivered very drily, fundamental movements are executed with cold-eyed precision, and stunts and actions are performed flawlessly. And through it all, the picture carries an unyielding deadpan tone - like John Carpenter's 'Ghosts of Mars,' but without the winking sensibility. Rather, this is the devil-may-care, fun-loving, yet nevertheless carefully crafted equivalent of a flustered worker forthrightly discharging their responsibility by throwing it at their superior, in this case the audience: "You want Kamen Rider? This is what you want? Fine, have it. It's all yours."

Such thoughts quite extend to or are reflected in everything in these two hours. We meet our two primary characters right from the start, too, and while Hongo Takeshi may be the superhero, leading lady Midorikawa Ruriko is the one who is ALWAYS prepared, and has an answer to every problem. In turn, star Ikematsu Sosuke is allowed to demonstrate some human emotion, while co-star Hamabe Minami is as unwaveringly straitlaced and brusque as Anno's writing and direction. Often elaborate stunts, fight choreography, and practical effects look fantastic; visuals rendered in post-production range from "decent," on the high end, to "I dare you to hate this," and always with a thousand-yard stare. And the latter verbiage readily applies to most all else, including the cinematography, editing, costume design, hair, makeup, sound effects, and music. Scenes that in another title would be played up or drawn out for dramatic effect sail past smoothly and quickly with the effortlessness and confidence of seeing the enemy was defeated and the story beat recorded. Appearing as Scorpion-Aug, Nagasawa Masami is an especial joy because she is so enthusiastically unhinged in her ham-fisted performance. And so on, and so on.

Whether Anno's approach to this reboot is something that one can remotely get behind depends completely on personal preferences; I can understand how it will not appeal to all. Yet even as the movie embraces abject, unfettered, ham-handed outrageousness - well in keeping in its own way with the spirit of classic tokusatsu, truthfully - it knows exactly what it's doing, and 'Shin Kamen Rider' really well made such as it is. Every last trace of the screenplay might be dispensed with the dead-eyed, curt efficiency of a shark pursuing its prey, but there are deliciously flavorful, imaginative ideas all throughout that are ripe for cinematic storytelling. The costume design, hair, and makeup erally are sharp and fetching across the board. Iwasaki Taku's varied, dynamic original score goes hard, supplying the wholehearted (and over the top) vitality that is broadly, deliberately withheld from the proceedings otherwise. The cast give committed, spirited, admirable performances even within the tenor of unabashed, tersely dispensed nonsense, including Hamabe; Nishino Nanase, portraying Wasp-Aug with a sly playfulness, is a definite highlight. I repeat that all tangible goods and action sequences, including the production design and art direction, really are swell; every now and again the digital artists worked extra hard to make a specific moment look good, and they ably do so if and when they want to.

It's a wild, somewhat peculiar ride, alternately artful, artistic, and artless; clever, and brazen. In the latter half 'Shin Kamen Rider' finds a little time to even try a bit of earnestness amidst all the stone-faced bombast - and still that slant is foremost, informing the whole from beginning to end. For those who are open to what it's doing, though, it's also splendidly entertaining, to the extent that I wouldn't mind if there were more to come. It's hardly the sort of film that demands viewership, but if you're at all receptive to the space it plays in, this is worth checking out and I'm glad to give it my recommendation.

Yesterday evening when I discovered this was having an unauthorised (and I'm fairly certain illegal) screening at my local cinema this afternoon, my jaw hit the floor, but I am far from complaining. While he left our beloved Shinji Higuchi to handle directing duties on Shin Ultraman, Anno focused his efforts on Shin Kamen Rider and it's very much cut from the same cloth as its predecessors. Fast, stylish, cartoony and oh-so-charming, it opens with action and never slows down, not even afraid to fully embrace the camp and horrific qualities of its source material.

I'll admit this is the tokusatsu property I am least familiar with (at the time of writing I've seen ZO, J, Shin Prologue and, more substantially, Den-O and Fuuto PI), but even to a more casual fan of the series, you can easily follow what is ultimately re-imaged episodes of the original show stitched together into a movie. I'm yet to watch the original but the number of side-by-sides I was seeing on Twitter after clips of it were leaked, shows that Anno really does take pride in his childhood influences.

Hyped stylised like the previous Shin movies, there's some very overbearing and pretty redundant CGI in places where practical effects would have been preferable and even cheaper, but it fits the same tone and energy of its predecessors. Anno's direction is great and features the same variety of angles and strange composition choices that make these so visually engaging. The hyper-choreographed fight scenes also help immensely, unafraid to go all the way to 11 with squishy violence.

With regular Anno collaborator Shiro Sagisu committed to Shin Ultraman, in steps Anime composer Taku Iwasaki and boy, does he do a stand-up job. I'm definitely gonna have to get the soundtrack to this the moment it's released, so many styles of music all coming together in a seamless blend of beauty.

While I ultimately feel that Shin Ultraman is the best of these Shin movies so far, Shin Kamen Rider is a very close second. Anno goes hell for leather here, amounting to a beautiful love letter to one of the grandfathers of Tokusatsu, having fun but not poking fun and fully embracing his inhuman worldview he's only ever touched upon in previous movies.

This is a very old-school tribute to the Kamen Rider character or that is what I felt from watching this without actually knowing the history. The way the design of the suit and action scenes can be directly placed in the 70s and won't make a difference is immediately juxtaposed with the amount of bloody violence and the introspection about it that comes right after that. There are a lot of themes that are very familiar through Anno's previous works but it never felt anything more than surface level. For the most part, it felt like a straight-up superhero story that is low-budget. But the episodic entry of characters, the monologues about happiness etc feels like it needs more time to have any heft to it amongst this campy action. As someone who doesn't have any idea about the character, this felt like it would have worked a lot better as an anime series. A lot of it is directed like an anime with the kind of shots and dialogues used but as it is not an anime, it doesn't have the same power. Also, the action would have been cooler and the cool music would have suited more in anime form.

As a long time Kamen Rider fan(real riders not the late heisei/reiwa stuff) this bring so muc joy for me.

There's some flaws for sure.. like the pacing, some actions feels a little off, and how a certain character(no spoilers) pretty much carried the later parts of the movie. But it really captures how a Kamen Rider should be, Ilove the visuals, and I don't mind the violence because if you read the manga that's how it is, how strong the rider. And it's obvious this movie isn't for kids unlike the tv shows. All in all it feels like a love letter to us old fans.

Those who watched the original series and read the manga will definitely love this, to me it's everything it needs to be. Ishinomori sensei would be proud.

Here's hoping for a sequel, perhaps with V3 being introduced.