Rebuild of Evangelion 3.33 You Can (Not) Redo 720p + Intro - (2012 Lang: English, Japanese)

The Bland of Evangelion:

The first two "rebuilds" of Evangelion crammed twenty episodes of the 1995 Shin Seiki Evangelion TV series into a span of three and a half hours, upping the musical and animation ante every explosive step of the way. Three years later, Evangelion 3.0 showed such promise: A teaser trailer so confident that it revealed only the internal workings of a piano; previews of an eyepatched Asuka spiraling through space with a shield and massive rifle to soul-rousing operatic strains. Yet after all the fervent build-up, Eva 3.0 feels like one of those reboots where a project was taken over by people who never understood why the franchise had rabid fans in the first place. Creator Hideaki Anno is still at the helm—and even back in the director's chair—yet when the film is over, the subtitle "You Can (Not) Redo" feels, more than anything, like an apology.

Anno opens with Asuka and Mari deploying multi-stage booster rockets, high-powered sniper rifles, massive shields and a brand-new pink Eva to fight off an Angel while retrieving Shinji and Unit 01 from Earth orbit. The sequence is brilliant, operatic, even tear-inducing: Then Shinji wakes up in yet another intensive care unit and the roller-coaster ride crashes straight into a ditch from which it will never emerge.

In 1997's the End of Evangelion, Shinji was offered a world in which he could merge with all of humanity so that he would never again have to feel alone. In Eva 3.0, he is offered a different world—one in which no demands are made of him at all. Enter ninety minutes of nothing.

This is not like what Anno did when he ran out of budget for the animated series, when he drove fans berserk by throwing out all the robot rumbles to dive into the characters' psyches for the last two episodes. Eva 1995 was all about the characters, putting broken human beings in a world-on-the-brink environment with the idea that their most intense struggles would still be to be loved, cherished, and accepted for who they were. Eva 3.0 strips away both the characters and the environmental crucible, even eliminating the deeper question of why everything is happening, and leaves us only with the hum-drum intellectual exercise of finding out what happened.

Shinji awakes into what is essentially the set of Das Boot melded with the bridge of the Macross. Misato is captain of a giant whale-like flying ark called the Wunder, the Nerv command crew man her bridge, and the cast is rounded out by a trio of space opera stock characters who get more lines than all the old cast combined. Even Mari, who had 'dark impending purpose' written all over her introduction in Eva 2.0, turns out to be nothing more than Asuka's sharp-shooting, one-liner-dropping sidekick. And despite the Third Impact having begun just to save her, when we finally meet Rei, she has no memory of the event and no connection to Shinji—or anyone else—whatsoever.

It turns out that the Third Impact was aborted part-way, and Shinji has been fitted with a Battle Royale-style choker designed to pop off his head if he shows any sign of becoming a deity again. While for a time it seems that we have been immersed in an alternate-universe Eva redesigned as a space opera, it is actually fourteen years later, and all the character dynamics that brought fans to the series have withered and died away. Rei, Asuka and Misato speak so little it's as if they aren't even there, and even Shinji doesn't wallow in self-pity; he is confused by all the changes, but with all the characters so different, the emotional boil we would normally expect to see at this stage of the series simply cannot emerge.

Having achieved friendship and affection in Eva 2.0, Shinji is much better adjusted than in his television iteration, and when he is whisked away from the Wunder to meet Kaworu, he's not desperate for approval—he just wants to know what's going on. Separated from all the people who cared about him, Shinji wanders through the hollowed-out remains of Nerv headquarters playing piano with Kaworu, stacking books for Rei and playing shogi with Fuyutsuki. And if that sounds about as exciting as a lazy Sunday afternoon, then you can imagine just how agonizing the middle hour of the movie becomes. By the time Kaworu outlines what Shinji could do to fix the world, there's just no reason to care. While there's an attempt to create drama over whether Kaworu's late-emerging MacGuffin will actually bring a 'fix' or the Fourth Impact doesn't really matter—from the audience's perspective, either change would be welcome. Even Ode to Joy can do nothing to elevate an Eva-on-Eva battle when there's no longer anything significant at stake.

Aside from the opening, the most exciting part of Rebuild of Evangelion 3.0: You Can (Not) Redo may be the pre-film. In what is perhaps a dark parody of Pixar, the movie begins with a short film by Studio Ghibli showing the arrival of Nausicaa's God Warriors in Tokyo. Although inexplicably completed using people tromping around a miniature city in creepy God Warrior suits, the piece, narrated by the voice of Ayanami Rei (Megumi Hayashibara), is unusually grim and captivating.

Fourteen years after a worldwide cataclysm called Third Impact devastated the Earth, Asuka Langley Shikinami and Mari Illustrious Makinami, pilots of the Evangelion cyborgs, are sent into space to retrieve a container in which Evangelion Unit 01 and its pilot Shinji Ikari are sealed. When Asuka grabs the container with her Evangelion unit, it releases attack drones. Unit 01 awakens and destroys the drones, then deactivates and descends back to Earth. Kaworu Nagisa watches and says he has been waiting for Shinji.

Salvaged from Unit 01, Shinji is fitted with an explosive collar by WILLE, an organization headed by Misato Katsuragi and Ritsuko Akagi. WILLE intends to destroy the paramilitary organization NERV and the Evangelion units. When more drones attack, WILLE launches the flying battleship Wunder and destroys them.

Shinji discovers that Unit 01 is powering the Wunder, and the collar will kill him if he attempts to pilot an Evangelion unit again. Ritsuko informs him that the other previous occupant of Unit 01, Rei Ayanami, was never found. Mark.09, a unit piloted by Rei, intercepts the Wunder and takes Shinji to the ruined NERV headquarters. While there, his father Gendo, the leader of NERV, informs him that he is to pilot a new Evangelion, Unit 13, with Kaworu. Shinji befriends Kaworu as they practice piano duets together, but discovers that Rei is unable to remember anything and only follows orders. Kaworu shows Shinji the ruins of Tokyo 3, explaining that Shinji's awakening of Unit 01 caused Third Impact. He also reveals that Gendo plans to force humanity's evolution to remove their individuality, and reunite with his deceased wife Yui Ayanami.

Gendo's assistant Kozo Fuyutsuki invites Shinji to play shogi and reveals that Yui is within Unit 01 as the control system. In addition, Rei is one of several clones of his mother; the Rei which rescued him is only the latest. Shinji is distraught by this revelation. Kaworu removes Shinji's collar and wears it as a sign of trust.

Shinji and Kaworu pilot Unit 13 on their mission to use the Spears of Cassius and Longinus, two ancient weapons, to undo Third Impact; Rei follows in Mark.09. When Unit 13 reaches the body of the alien lifeform Lilith, Kaworu realizes that the spears are not what he expected. Kaworu, Asuka and Mari attempt to stop Shinji, but Shinji removes the spears. On Gendo's orders, Mark.09 decapitates Mark.06 to release the Twelfth Angel, which is absorbed by Unit 13.

The awakened Unit 13 rises into the sky, starting another cataclysm called Fourth Impact. Kaworu reveals he is the First Angel, now "cast down" to the Thirteenth. The bomb detects Unit 13's awakening and activates. Rei loses control of Mark.09, which boards Wunder on its own in an attempt to take control of the ship. Rei ejects from her unit and Asuka blows up her own unit to destroy Mark.09. To stop Fourth Impact, Kaworu stabs Unit 13 with both spears and then allows the collar to kill him to Shinji's horror. Mari ejects Shinji's cockpit from Unit 13, and WILLE recovers units 02 and 08 and retreats. Asuka rescues and drags Shinji through the remains of Tokyo-3, with Rei following them.

The Rebuild saga blazes onward in Anno's world flipping master act. This is the world of Evangelion unlike anything that's been done before, boasting a new, clear and confident vision that brings our heroes and anti-heroes through endless strife and the most horrific of imaginable emotional confrontations. At times it's hard to watch for that reason, but the fact that an 'out' even exists, in all of its mysterious grandeur, shows us that this doesn't have to be the end… and it's already gone beyond THE End that we've previously been met with.

Atmosphere is what the entire movie is about. Dialogue is minimal, and much is left to the visuals to tell the story of the Fourth Impact. Those visuals are quite unlike much else I've seen in a film, carrying on Evangelion's hellish, dreamlike tradition of an original, complex, and thought-provoking art direction. The cryptic nature of every artistic level, be it writing, animation, design, or music cues, that the feature works on, recalls once again, the work of Stanley Kubrick and his 'Kubrick's Cube' of visual parallelism. Aside for some visual nods to Kubrick's work (2001: A Space Odyssey, in particular), Hideaki Anno produces a visual wonder through animation, as he has with the previous Evangelion entries (and the parallels between NGE and Rebuild, in their universe hand-offs, progressions, and quantum entanglements), and goes above and beyond. It's truly a masterpiece worthy of seemingly endless dissection.

One shot that stands out in particular for me is Shinji, listening to his Walkman in the foetal position in the ruins of NERV HQ as the green grass that has grown through the oppressive concrete floor over time rustles softly in the wind. It's melancholic and establishes the feeling of the film's middle act- its heart. Between that is the confusion of being in Shinji's shoes and facing a world fourteen years passes, for what is mere moments for him. It is effectively soul-crushing, driving one to desire a brighter future for all who still live on the Earth; but there's no way it will ever be reached without a battle hard-fought.

This is much the story of two particular characters, Shinji and Kaworu than the others and while at times that can feel disappointing, to recognize the importance of the plot's gaze is essential to understanding where the Rebuild is going. For every time I crave more of Mistato's development or an appearance from Kaji, the look back toward Shinji and Kaworu is ultimately as fulfilling. Visually, the movie presents so much to analyze and merely take in, that I feel we'll have enough to puzzle over right up until 4.0— Final. It's an absolute beauty, and to watch it in anything less than high definition is more than a disservice.

As if the startling premise wasn't enough of a radical change, the final 20 or so minutes takes Evangelion to unheard of heights and, in some cases, lows. These are the best kinds of each.

Though I can understand the dislike for this movie from fans of Evangelion, I urge them to look back upon it with eyes and a mind free of expectations and see it as something that isn't meant to be the Evangelion we know- the point of the movie is to venture into the unknown, not follow the path we've seen in Neon Genesis; from the end of 2.22, it would seem this was made clear.

It's new, it's mysterious, and quickly advancing toward a new ending that could be the end of all things, the breaking of the cycle that we've been experiencing for the past 18 years, across anime, manga, and feature film. But what is the element that Shinji must perform to finally defy every quantifiable expectation? Let's see what Mr. Anno has to present him.

"Everybody finds love in the end..."

"Destroying the world is only too easy. Rebuilding it is not so simple, however."