Film Review: "Shin Kamen Rider" ("シン・仮面ライダー") (2023).

"Those which change. Those which never change. And those that don't want to change." This is Shin Kamen Rider (シン・仮面ライダー). This Japanese superhero film directed and written by Hideaki Anno, and based on Kamen Rider (1971-73) created by Shotaro Ishinomori. A man forced to bear power and stripped of humanity. A woman skeptical of happiness. Takeshi Hongo, an Augmentation made by SHOCKER, and Ruriko Midorikawa, a rebel of the organization, escape while fighting off assassins. What’s justice? What’s evil? Will this violence end? Despite his power, Hongo tries to remain human. Along with freedom, Ruriko has regained a heart. What paths will they choose?

Anno first proposed the film after growing close with Toei producer Muneyuki Kii during the production of his 2012 film Evangelion: 3.0 You Can (Not) Redo. In 2015, planning for the film began with Anno as director and screenwriter. Toei initially aimed for a 2021 release date, the year of the Kamen Rider franchise's 50th anniversary; however, production was delayed due to the outbreak of the COVID-19 pandemic. In early April 2021, during a press conference celebrating the 50th anniversary of the franchise's very first episode, the film was announced with a Japanese March 2023 release date. In September, the film's official Twitter account announced the script had been finalized, and shooting was soon to begin. By early October, Sosuke Ikematsu, Minami Hamabe, Tasuku Emoto, Nanase Nishino, Shinya Tsukamoto, Toru Tezuka, Kanata Hongō, Nao Ōmori, Masami Nagasawa, Mikako Ichikawa, Ken Yasuda, Suzuki Matsuo, Takumi Saitoh, Yutaka Takenouchi, and Mirai Moriyama were cast. At the same time, principal photography commenced and wrapped in late January 2022. Filming took place in Tokyo and Fukushima, Japan. The film was shot on the Arri Amira with Zeiss Ultra Prime, Canon Cinema EF and Angenieux Optimo Lenses in the 2.35 : 1 aspect ratio. Like Shin Godzilla and Shin Ultraman, several sequences in the film were shot on iPhones, using camera movements, lens sizes, angles, and zoom timing to mimic modern cinematic techniques.

As good as the action scenes may be, the best thing about the film is the way it gives us reasons to care about the characters at the center of the story instead of just the spectacle. This is thanks to the performances given by the cast.

Anno feels at home with this material and his brand of pop nostalgia feels alive, intelligent, and passionate in a way that Hollywood’s current onslaught of cynical IP rehashes and cinematic universes simply haven’t. The effects are solid, capturing the classic tokusatsu style and texture via CG, creating moments that feel genuinely fun and exciting to behold. But that’s not enough to keep the audience engaged for the two-hour runtime. The film is equal parts love letter and reboot, making it a great entry point for those looking to get to know this iconic character. The film also chooses to echo the hopeful spirit of the original series.

Simon says Shin Kamen Rider (シン・仮面ライダー) receives:

Also, see my review for Evangelion: 3.0+1.0 Thrice Upon a Time (シン・エヴァンゲリオン劇場版:𝄂).