#Akihisa Taki

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Shin Ultraman ชิน อุลตร้าแมน (2022) ซับอังกฤษ

ตัวอย่างหนัง Shin Ultraman ชิน อุลตร้าแมน (2022) https://www.youtube.com/watch?v=5XT4Wbfupys   เรื่องย่อ  เป็นภาพยนตร์ญี่ปุ่นปี 2022 ร่วมผลิตโดย Tsuburaya Productions , Toho Company Ltd.และ Khara inc. มีการระบุว่าเป็นภาพยนตร์ดัดแปลงจาก ซีรีส์ อุล ตร้าแมนดั้งเดิม เนื่องในโอกาสครบรอบ 55 ปีของแฟรนไชส์ ​​ภาพยนตร์มีกำหนดเข้าฉายครั้งแรกในช่วงต้นฤดูร้อนปี 2021 แต่ล่าช้าเนื่องจากความกังวลเกี่ยวกับการระบาดของไวรัสโควิด-19 ที่ Tsuburaya Convention Special Program เมื่อวันที่ 13 ธันวาคม พ.ศ. 2564 มีการประกาศวันวางจำหน่ายครั้งสุดท้ายในวันที่ 13 พฤษภาคม พ.ศ. 2565 ภาพยนตร์เรื่องนี้เป็นหนึ่งในผลงานเด่นของโครงการ ความร่วมมือ Shin Japan Heroes Universeร่วมกับShin Godzilla , Shin Evangelion Theatrical EditionและShin Kamen Rider   การปรากฏตัวอย่างต่อเนื่องของสิ่งมีชีวิตขนาดยักษ์ที่ไม่ปรากฏชื่อที่เรียกว่า "สายพันธุ์ S-Class" กลายเป็นเรื่องธรรมดาในญี่ปุ่นอาวุธธรรมดาไม่มีผลกับพวกมัน หลังจากที่ใช้ทางเลือกอื่นๆ หมดแล้ว รัฐบาลญี่ปุ่นได้ออกระเบียบการปราบปรามสปีชีส์ S-Class และจัดตั้งหน่วยบังคับใช้ที่เรียกว่า SSSPสมาชิกที่ได้รับเลือกสำหรับหน่วยนี้คือ: ผู้นำ Fumio Tamura, นักยุทธศาสตร์ผู้บริหาร Shinji Kaminaga, นักฟิสิกส์ Unparticle Taki Akihisa และนักชีววิทยาสากล Yume Funaberiในขณะที่ภัยคุกคามของ S-Class Species เลวร้ายลง ยักษ์สีเงินก็ปรากฏตัวขึ้นจากนอกชั้นบรรยากาศของโลกนักวิเคราะห์ ฮิโรโกะ อาซามิ ได้รับการแต่งตั้งใหม่ให้กับ SSSP เพื่อจัดการกับยักษ์ใหญ่รายนี้ และร่วมมือกับชินจิ คามินางะในรายงานของ��ภาพร เธอเขียนว่า... "อุลตร้าแมน(ชื่ออย่างไม่เป็นทางการ)ไม่ทราบตัวตน"      ดูหนังออนไลน์  Read the full article

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Science Patrol (Shin Ultraman 2022 vs Ultraman 1966) by 東宝MOVIEチャンネル

Ultraman 1966 - SSSP (Science Special Search Party)

Susumu Kurobe as Shin Hayata, the Ultraman

Akiji Kobayashi as Captain Toshio Muramatsu, the leader

Sandayū Dokumamushi as Daisuke Arashi, the marksman

Masanari Nihei as Mitsuhiro Ide, the inventor

Hiroko Sakurai as Akiko Fuji, the communications officer

Shin Ultraman 2022 - SSSP (S-Class Species Suppression Protocol)

Takumi Saitoh as Shinji Kaminaga, the Ultraman

Masami Nagasawa as Hiroko Asami, the analyst 

Hidetoshi Nishijima as Kimio Tamura, the leader 

Daiki Arioka as Akihisa Taki, the physicist 

Akari Hayami as Yumi Funaberi, the biologist 

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Download Shin Ultraman 2022 HD/Full HD/2K/4K

Genres: Action / Adventure / Drama / Fantasy / Sci-Fi

The continued appearance of giant unidentified lifeforms known as "S-Class Species" has become commonplace in Japan. Conventional weapons have no effect on them. Having exhausted all other options, the Japanese Government issued the S-Class Species Suppression Protocol and formed an enforcement unit, known as the SSSP. The members chosen for the unit are: Leader Fumio Tamura (played by Hidetoshi Nishijima), Executive Strategist Shinji Kaminaga (played by Takumi Saitoh), Unparticle Physicist Taki Akihisa (played by Daiki Arioka), and Universal Biologist Yume Funaberi (Akari Hayami) As the threat of S-Class Species worsens, a silver giant appears from beyond Earth's atmosphere. Analyst Hiroko Asami (played by Masami Nagasawa) is newly appointed to the SSSP to deal with this giant and is partnered with Shinji Kaminaga. In Hiroko's report, she writes... "Ultraman (tentative name), identity unknown".

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The new and the original versions of the SSSP.

TOP:  The team of the S-class Species Suppression Protocol 

(front row)  Team Leader Fumio Tamura, Analyst Hiroko Asami, Executive Strategy Officer - and guy who becomes Ultraman - Shin Kaminaga; (back row) Unparticle Physicist Akihisa Taki, and Universal Biologist Yume Funaberi.

BOTTOM: The team that should need no introduction, the Japanese branch of the Science Special Search Party - aka the Science Patrol

(front row) Captain Toshio Muramatsu, Akiko Fuji, Shin Hayata; (back row) Mitsuhiro Ide, Daisuke Arashi.

I don’t know whose desk that is in the top photo (I’m gonna guess it’s Taki’s), but I love the office decorations.  I spot a U.S.S. Enterprise, Mighty Jack, and Thunderbird 2.  I’m sure someone with better eyes and knowledge can identify the other toys/models.

早蝮あか太夫

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REVIEW: Shin Ultraman’s Fanatic and Hope-Filled Entry in the “Shin” Universe

All images via Shin Ultraman website

  As Shin Ultraman finally hits Japanese theaters, it’s hard not to notice the gap that’s formed between Japanese audience expectations surrounding this highly-anticipated reboot and what international audiences are clamoring to see from a Hideaki Anno “Shin” revival of a Japanese classic. Although Shin Godzilla was always a project made with love for the kaiju franchise, the unflinching cruelty of the film’s wanton destruction and sharp commentary aimed at Japanese bureaucratic incompetence in the wake of the 3/11 earthquake speaks loudest amidst its devastation of Tokyo. Taking place in the backrooms of Japanese politics as civilians are left to fend for themselves, this critique of a belligerent political elite captures the essence of a 1954 classic reimagined for the modern day.

  If Shin Godzilla is a faithful yet distinct reimagining to Ishiro Honda’s fearful creation, Shin Ultraman offers this same faithful homage for the alien savior of Earth. Expecting a movie in the vein of that 2016 film merely by virtue of a similar naming convention is asking for disappointment. For all this franchise shares a place in kaiju and tokusatsu history, the fear instilled by Godzilla couldn’t be more different to the hope Ultraman has offered Japanese kids over the decades.

  When special effects wizard Eiji Tsuburaya left TOHO to form Tsuburaya Productions, Ultra Q and Ultraman translated the larger-than-life genre from the silver screen to living rooms across Japan with a mix of whimsy and spectacle, instilling untold possibilities into the minds of kids like Shinji Higuchi and Hideaki Anno. Over 55 years later, two men whose careers are indebted to the franchise have reimagined this titan in their own style, without forgetting the reasons they fell in love with this series in the first place.

  Shin Ultraman is a film made with utmost respect for the original work, something which becomes obvious from the opening-title homage to the 1966 series. Higuchi and Anno have been friends for decades, sharing a love of Ultraman, tokusatsu and sci-fi while working together since college on anime shorts like DAICON III and IV. With this in mind, it’s no surprise that many scenes directly reference moments from Ultraman history near-identically, while even other childhood favorites make brief cameos. For every new idea this film puts forward, you still get the feeling TOHO accidentally unleashed two children on the world’s most expensive toy box.

    Following a rapid-fire slideshow of fan-favorite kaiju, we’re introduced to an experienced SSSP team operating under the jurisdiction of the Disaster Prevention Agency within the Japanese government. They respond to an attack by Neronga, a dinosaur-like kaiju that fires charges of electricity it swallows from nearby powerlines and generators. The four-person team of Kaminaga Shinji, Taki Akihisa, Funaberi Yumi and Tamura Kimio struggle to get the monster under control even before Shinji leaves his post to save a child he sees through his monitor. As Shinji attempts to save the child, he’s hit by a meteor from space containing Ultraman, who came to Earth to destroy Neronga. Rather than be responsible for the death of an innocent, Ultraman offers to merge with Shinji and lend him its power, allowing him to transform.

  It’s an origin story from the 1960s transported into the modern day that asks how this classic story would be altered when juxtaposed against currentsensibilities. The SSSP operates like any other government agency, and our world is established in a manner that transposes them as an essential function of our modern world. It’s a mere fact of life in this alternate universe that intricate evacuation plans and the Japanese Self Defense Force have pre-approved action plans to deal with kaiju unrest.

  And, like any good front-facing government agency, they have their own tightly-controlled PR campaign and cute mascot.

    For those seeking the political intrigue of Shin Godzilla, these moments wherein the film critiques how politicians and government departments exploit the confusion sewn by Ultraman and the seemingly-new presence of helpful aliens to boost their image are the most similar. Our online existence makes attempts to keep Ultraman secret an impossibility, forcing the government to respond to this unknown creature in real time. As other morally-ambiguous aliens like Mephirus and Zarab make their presence known, the search for fickle public approval trumps considered strategy as cheap PR is swiftly implemented, making them vulnerable when this ill-thought plan backfires.

  This story blending homage and politics is one perfectly suited to the creative sensibilities of the duo in charge. While Higuchi is listed as a sole director, and his Heisei Gamera trilogy experience on full display, it’s difficult to believe Anno limited his involvement here to a mere writing credit. A sense of unplanned chaos and distrust is planted in non-action sequences through unconventional camerawork that regularly breaks the rules of filmmaking.

  Erratic editing stumbles to the forefront as the film chaotically cuts between obtuse and unflattering angles on even mundane dialogue to iPhone cameras hidden behind office chairs and under people’s arms. Used incorrectly this style would merely appear amateurish, yet it emphasizes just how much these supposed experts don’t understand in a crazy world forever altered by Ultraman’s arrival.

    It’s a style most reminiscent of Anno’s early film Love & Pop, a movie that captured the morally-gray world of compensated dating through the eyes (via handheld camcorders) of high school girls. In both cases, it works: when even the rules of conventional filmmaking are tossed aside, what can you trust?

  Yet rather than creating a hopeless film where fear begets mistrust, Shin Ultraman is ultimately a film about hope and justice prevailing above all else. This truly is a modern reimagining of a classic, in one hand unafraid to transport modern problems onto our stories of the past while never losing sight of why we were obsessed with these after-school heroes in the first place.

  It’s why, for all the deeper meanings this entry leaves older audiences to ponder, Shin Ultraman is a far goofier and jovial film than 2016's Shin Godzilla. Unafraid to lean into the tropes and inherent silliness of tokusatsu filmmaking as aliens produce business cards and ride shotgun in cars, creating light-hearted comedy that doesn’t diminish from the film’s overall message is a challenge this film achieves effortlessly. Even when the film embraces a more conventional final-act spectacle, it’s one that ultimately celebrates just how cool it can be for titans to duke it out against one another.

    Before the collective went on to form GAINAX, Higuchi, Anno and the rest of Daicom Film produced their own Ultraman fan film — Return of Ultraman. Shin Ultraman finally realizes the dream this team had when creating that 1983 short, writing their names into the history of one of Japan’s most beloved pop culture icons. Every era of the franchise is represented (no fewer than 26 songs from previous entries make an appearance in this film) as this movie cements itself as a loving tribute and wholly-unique entry into this beloved series.

  Although some of the film’s gravitas may be lost on audiences lacking full familiarity with the franchise (particularly the original 1966 series), Shin Ultraman is nevertheless a welcoming creative spectacle showing Hollywood how it’s done when it comes to rebooting a classic character for a new generation.

      Alicia Haddick is a freelance features writer for Crunchyroll. If they aren't watching anime or way, way too many movies, they're probably outside taking photos or listening to their favorite idol groups. You can find them sharing their other work on anime, gaming and films and rambling on just about anything over on their Twitter account @socialanigirl, or on Letterboxd.

By: Alicia Haddick

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An inconsiderate co-worker

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Introductions

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The militarization of Ultraman

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“High ion concentration. The atmosphere is plasma.” --Akihisa Taki

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Kenshi Yonezu Draws Shin Ultraman Theme Song CD Jacket Illustration by Himself

    Japanese singer-songwriter Kenshi Yonezu has posted a CD jacket illustration for "M87" (Emu Hachiju-Nana), the theme song for the forthcoming all-new live-action film Shin Ultraman on his official Twitter account. The illustration depicting Ultraman in profile was drawn by himself. As his 12th CD single, it will be released as her new single on May 18, five days after the film's release in Japan.

    ウルトラマン描きました。M八七よろしくお願いします。 pic.twitter.com/nOpmE1dwBZ

— 米津玄師　ハチ (@hachi_08) April 22, 2022

    "Shin Ultraman" trailer featuring the theme song: 

    RELATED: Kenshi Yonezu Sings Shin Ultraman Feature Film's Theme Song "M87"

      Meanwhile, a special clip featuring the comments by the main cast members and Yonezu, which has been screened in Japanese theaters, is now streamed on TOHO MOVIE's official YouTube channel:

  Takumi Saito (Shinji Kaminaga): "Thinking with the feeling when I was a movie boy, it would be amazing if it came true."

Hidetoshi Nishijima (Kimio Tamura): "I really wanted to do this, so I was surprised that we could do what we had built up in our head!"

Masami Nagasawa (Hiroko Asami): "They still hold on to the hopes and dreams they had as children."

Daiki Arioka (Akihisa Taki): "The work is filled with love for Ultraman."

Akari Hayami (Yumi Funaberi): "I was so excited to be able to dive into the world view myself."

Kenshi Yonezu: "I think you have to be someone who knows pain to be really strong."

        Poster visual:

    RELATED: Anno and Higuchi's Shin Ultraman Film Releases Destructive New Teaser Trailer 

      Sources: Kenshi Yonezu official Twitter / TOHO MOVIE official YouTube channel

  ©Tsuburaya Productions 

©2021 "Shin Ultraman" Production Committee

  By: Mikikazu Komatsu