The fate of the world is threatened by seemingly monstrous entities known as Angels. NERV is an organisation set up to counter this threat and it is up to young pilots to protect Earth but exactly what are the real motives behind NERV?
Under constant attack by Angels, NERV introduces two new pilots: the mysterious Makinami Mari Illustrous and the intense Asuka Langley Shikinami. Parallel to the incursion, Gendo Ikari and ... See full summary »
14 years have passed since the near third impact. Most of the world has changed except Shinji Ikari who awakens, unaged in a new and strange environment. Misato has formed a group that has ... See full summary »
The final part of the Remake of the Evangelion franchise. Director Anno Hideaki had announced that he is working hard on the project but did not announce the release date. Fans expected it to be released some time in 2017.
The Evangelion saga from TV is artfully recounted, with some additional scenes, in part one see: "Shin Seiki Evangelion" (1995) Part two starts immediately afterward, where the NERV organization has outlived its usefulness. The shadowy covenant of SEELE launches an all-out commando assault against the ill-defended headquarters. Asuka, semi-comatose, is placed in her EVA for safety, while Misato and company struggle to find Shinji and Rei before they're assasinated by SEELE's forces. Written by
After the credits for "Death", there is a short scene of Shinji walking silently out of the recital room with his cello followed by a loud slamming sound as the Japanese text "zoku-geki" ("the movie continues") appears on the screen. A four-and-a-half-minute intermission follows, preceding the "Rebirth" segment. See more »
The Evangelion series itself may well be a true masterpiece, a rare example of a popular work that transcends its commercial origins and enters the realm of great art. Unfortunately, this film fails to really do it justice as it consists primarily of material already seen in either the television series or the film End of Evangelion. Additionally, they redubbed many of the voices for the English version, and the new voices often fall quite short of the old ones (even if they didn't necessarily live up to the Japanese ones to begin with). Touji's lines, in particular, fall spectacularly flat. On the positive side, it does introduce some new and hard to get footage interspersed with some nice musical numbers from Bach and Pachelbel.
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