Children are the main actors of “Ultraman: Rising,” but they do not function as the actual stars. It concerns absent parents, disjointed children and clichéd Pixar characters amongst other similar types. It is a film that is separate from another titled Shin Ultraman which was indeed a remake on 58 year old alien hero featured in one of the high-profile projects recently. The retro-modernism of this film seemed to be a little more than something we could see in Ultraman’s first TV series and particularly in its serial format. Aiming at reeling in mass family audiences who have no idea about previous versions (of themselves), Ultra Man: Rising doesn’t seem like such an innocent departure from either of his incarnations.
In this case, for the new Ultraman, he must rise above it all so as to become truly great; meaning he has to grow up and get over his daddy issues with him being angry at him while missing out on his mother’s love besides taking care of a giant baby dragon monster. This dragon is cute and hilarious immediately since, besides its wild mood swings and heart-tugging character design, it does not talk or even have any further characterization beyond that. The current Ultraman also lacks some charm like when he’s just an ordinary person with a family among other domestic concerns. Yet still this was never exactly Ultraman’s strong suit since he still looks good wrestling monsters, robots, etc.
As Ultraman’s secret identity in “Ultraman: Rising”, Ken Sato plays a baseball prodigy from Japan named Christopher Sean. He tries hard to keep them juggling though most times it ends up dropping them both—his Major League Baseball career and his monster-fighting hobby. For some time Ken will be characterized by arrogance until when those qualities only matter when they are needed to push the story forward or evolve it somehow else. After Professor Sato fails to save her mother who goes missing right after this scene, our hero shuns his doting father. Sato tells Ken the path to becoming a hero is finding balance in that introductory flashback. And so, with the help of his robotic companion Mina (Tamlyn Tomita), Ken decides to be responsible for Emi, a baby kaiju found shortly after battling Gigantron the dragon. This consequently puts him at odds with Dr. Onda (Keone Young), a stern leader of Kaiju Defense Force whose character is too militaristic.
Ken was raised by an entire village, he ignores all calls from his father and he does not understand how to deal with Ami Wakita (Julia Harriman) who is just doing her job as a single mother but has a young daughter obsessed with watching Ultraman regularly. In fact it is through Ami’s influence that Ken starts on the right path though Mina ends up playing out most of Emi and Kens survival needs(works). Dad will come to save him later but only when it becomes time to release Ultraman from being anything other than one dimensional.
Unlike Ultraman whom she believes is her mother, Emi relies mostly on her attachments towards Ultraman herself and various types of monstrous hormones like slimy puke or fiery gas or gooey “poopies.” These jokes seem to write themselves and nearly everything else here sounds contrived as if English isn’t even your first language.
It’s hard to be all things to all viewers, and this is even more so the case when the focus happens to be on Ken. For example, there are some of his lines that don’t match with the rest of the dialogue throughout the movie which tends to follow a more dreamworks-style approach such as when rhetorically he asks, “Is this the part where the villain sends a hidden force that we didn’t know about?” (Well, yeah.) What is more perplexing still is why exactly one scene in particular focuses on Ken is soundtracked by The Sex Pistols’ “Pretty Vacant.” (No, really.)
In comparison with their human counterparts who have no expressive faces and cannot move their bodies properly Emi moves and acts reasonably though her movements are rather wobbly physically expressive facial features. In order for their dead characters to catch fire again through animation it is only possible for these voice actors to do what they can; however, there are limits on how much life you can breathe into lines like “Someday, when you have kids of your own, you’ll understand.”
Eventually though “Ultraman: Rising” manages to find its feet whenever it’s protagonist takes center stage. Apparently directing efforts towards this creature from planet land of light has brought out much more skill among many computer animators in this movie than anything else . Furthermore , focusing instead on superhumans moving between each other in a bid not concentrate on them trying too much with deeper feelings or motives seems also beneficially appealing.
Above all else, “Ultraman: Rising” does not contain any significant ideas about parenting or even about being an adult trying hard enough to juggle multiple roles at once. It might just be fun; but sorry for taking away from your attention span every time it calls for it especially during its monsters-all-out invasion mode- but nothing new emerges out of its having done so quite many times.
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