Film ● Review: Shin Ultraman
- Very Average Joe
- Dec 30, 2025
- 3 min read
English Title: Shin Ultraman
Japanese Title: シン・ウルトラマン
Director(s): Higuchi Shinji
Screenwriter(s): Anno Hideaki
Studio: Toho Studios, Cine Bazar
Released: 2022
Runtime: 1h 52m
Starring: Saitoh Takumi, Nagasawa Masami, Nishijima Hidetoshi, Arioka Daiki, Hayami Akari
My Verdict: Similar style to Shin Godzilla (2016) but goes further with the satire and comedy. Nicely shot and edited.
● This is the second film of the tokusatsu series, a follow-up (even if not officially) to Shin Godzilla (2016).
● Just as Shin Godzilla is a re-imagining separate from other Godzilla continuities, which the title implies, Shin Ultraman is also separate from other Ultraman continuities.
● The film begins with rapid-fire background of kaiju attacks which have been promptly dealt with. This leads to the formation of S-Class Species Suppression Protocol (SSSP), a small team that deals with kaiju attacks.
● During one such attack, Ultraman arrives and defeats the kaiju. In the process, unbeknownst to others, SSSP team member Kaminaga Shinji (Saitoh Takumi) is injured, Ultraman then taking his form. Meanwhile, Asami Hiroko (Nagasawa Masami) is a new analyst assigned to the team. The plot follows SSSP and Ultraman/Kaminaga as they deal with new alien threats.
● Visually, it relies on quick cuts corresponding to the rapid dialogue, shifting between close-ups with extreme angles to off-center wider shots. Obviously, it aims to be immersive and vaguely like file footage quickly slapped together whilst mostly avoiding the style of a documentary or found footage. Whilst highly stylized, it is never jarring.
● It has its kaiju set pieces which are generally well done. The visual effects are decent. Even though one can tell it is CG or partly CG, it is mostly blended well with the other elements so that the shots fit together.
● Shin Godzilla does not veil its criticism of Japanese bureaucracy and politics. The satire is obvious although it is arguably mild. The film is funny but, overall, it is serious enough that it does not disrespect the franchise.
● Shin Ultraman does not have that restriction and given the nature of it, it is arguably harder to take seriously in a live-action work. This is presumably why the satire and comedy are blatant right off the bat, making fun of Japanese bureaucracy. Along with the quick, hard cuts and at times rapid dialogue, the typical Japanese deadpan delivery augments the comical effect.
● The performances are solid, especially when considering the style and tone of the film. It is plot-driven. It is not character-centered, so much so that the opening comically introduces them so fast that one can barely read their names. However, they still have to come across as plausible given the situation with their reactions often in close-ups and do their deadpan delivery. In these respects, the cast doesn’t exactly have an easy job.
● The score by veteran composer Sagisu Shiro is well done with the usual blaring Japanese kaiju or superhero themes. Sometimes, it is deliberately cheesy to aid the comedy but it is not always like that, it can be closer to normal at times.
● As expected, there is the theme of humanity’s significance in the universe. It takes the traditional sci-fi approach, which is that humanity is small and one of many; in other words, the usual materialistic approach. Ultraman thinks more highly of humanity whilst enemies obviously do not. In this respect, there is nothing new in the discussion. But it gets away with it because it is a fun film.
● It is not as weird as Shin Godzilla but it has similar themes. There are one or two conveniences that could be better explained and there is one scene in which the exposition is too chunky, but the overall pacing is not bad.
● If one likes Shin Godzilla, then one will probably like this film as it takes a similar approach but goes further.
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