Keroro Gunsou Movie 6: Fukkatsu shite Sokkou Chikyuu Metsubou no Kiki de Arimasu!

Shin Gekijouban Keroro Gunsou : Fukkatsu shite Sokkou Chikyuu Metsubou no Kiki de Arimasu!(2026) 4/10(bad) First of all, the general director and screenwriter of this work is a man named Yuichi Fukuda. Most people probably have never heard of him. That cannot be helped. He has directed many live-action comedy films up to this point, and this is his first time being involved with anime. Before reviewing this work, I first need to explain his sense of “comedy.” In his films, his main method is to “film a stupid skit for an absurdly long time and wait for the actors to start laughing.” And with this approach, he has directed many live-action adaptations of anime and manga. Examples include Under Ninja, The Disastrous Life of Saiki K., and Gintama. There is also something he is particularly obsessed with: “How can I bring the same actors back into my films again?” This is not an exaggeration. There are two actors who appear in his films almost every single time, and beyond them, there are plenty of other cases of casting from within his own circle. And the most criticized point of this Keroro film was precisely that casting. Around the middle of this work, a number of unnecessary, unfunny characters appear and very clearly snap the story in half. Specifically, there is a hero’s party wearing strange headgear, a weirdo wearing underwear on his head, and the usual trio from Gintama — or at least, people who resemble them. These characters are the very embodiment of Fukuda’s biggest and worst tendency toward self-indulgent in-jokes. These characters were the main characters of films previously directed by Yuichi Fukuda, and he said that the reason they appeared here was because he wanted to create the “Avengers” of Yuichi Fukuda films. In Japan, this was discussed as one of the worst cases of private indulgence in film history. It caused a massive backlash and received unprecedentedly low scores on review sites. How bad was the backlash? Bad enough that a stage greeting event was canceled. Incidentally, there is a major problem with this. As mentioned earlier, Fukuda’s film comedy works in a very specific way, but there is one crucial element to his films: improvisation. The heart of his comedy lies in filming for an excessively long time, wearing the actors down, and then capturing the natural ad-libs that emerge from that exhaustion. And this is extremely — yes, unbelievably, catastrophically — incompatible with anime. That is because anime is built on careful planning, from storyboards all the way to animation. In other words, improvisation is not something that naturally occurs in the medium. Normally, he should have taken this difference in medium into account before directing an anime. But amazingly, this anime simply neglected to do so. The result, of course, is a catastrophe that will go down in the history of 2020s anime. Let us talk about the rest. The first half of this work consists of parodies of anime and films that were popular in Japan. These include Attack on Titan, Yo-kai Watch, and Evangelion. The reason the film keeps repeating these endlessly stupid parodies is explained near the end, but the real problem lies elsewhere. The problem is that the film places far too much emphasis on developing the parodies, to the point that the actual plot becomes careless and neglected. For example, at the beginning, there is a scene in Shibuya where Yo-kai Watch-style yokai appear and brainwash people. The film spends ten minutes on this. It also spends seven minutes on the Attack on Titan parody. In this way, each parody is depicted slowly — and I mean painfully slowly. To put it simply, the pacing is dead. The audience came to watch Sgt. Frog, yet what unfolds before them is nothing but pointless imitation of other works. And to make matters worse, the quality of that imitation is unbelievably low. If I had to describe the experience of watching this work in one word, it would be “boring.” Each individual joke is killed by the lack of pacing, and the director’s self-indulgent in-jokes tear the story’s foundation to pieces. After a story that has collapsed this completely, all that remains is a boring pile of wreckage.