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Zebraman (2004)
Tomatometer
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Reviews Counted:13
Fresh:6
Rotten:7
Average Rating:5.9/10
Runtime: 1 hr 58 mins
Genre: Foreign Films
US Box Office: $0
Synopsis: Prolific Japanese director Takashi Miike (AUDITION) helms this frenetic action-comedy hybrid about a grown man who dresses up as a beloved superhero named "Zebraman." The fun and excitement begin... Prolific Japanese director Takashi Miike (AUDITION) helms this frenetic action-comedy hybrid about a grown man who dresses up as a beloved superhero named "Zebraman." The fun and excitement begin when he runs across another masked man, but this character has villainy on the brain. [More]
Starring: Sho Aikawa, Kyoka Suzuki, Yui Ichikawa, Akira Emoto
Starring: Sho Aikawa, Kyoka Suzuki, Yui Ichikawa, Akira Emoto
Director: Takashi Miike
Director: Takashi Miike
Screenwriter: Kankurô Kudô
Composer: Koji Endo
Studio: Media Blasters Releasing
Reviews for Zebraman
Its odd clash of shifting sensibilities is just as often wearisome as engaging.
...it also has an undeniable charm, and the kitschy, CGI-enhanced special effects add greatly to the amusement factor.
Frequent readers may have noticed my fondness for films by Japanese cult director Takashi Miike. So it pains me to report that his Zebraman is a disappointment.
Will probably play best to fanboys who love Power Rangers and Ultraman.
Though featuring cheapo special effects, phony-looking fight scenes and cornball dialogue, this throwback is readily recommended for anyone who might enjoy a campy cross of Mothra and The Mighty Morphin Power Rangers.
Utterly delightful...a loving spoof on the Ultraman tradition of 1960s and '70s low-budget Japanese TV superheroes.
Miike directs with due care and attention and comes up with the odd striking image, but the material is so inert that nothing can stifle yawns.
A downtrodden schoolteacher, a disabled boy and a government agent suffering from an embarrassing itch are the unlikely heroes of Zebraman.
Zebraman has come to save our summer from bloated Hollywood product that takes itself but not its audience seriously (here, it's the other way around).
Like the faux gays from Japan's defense agency, Miike refuses to get real, but his gonzo, punch-drunk surrealism has never felt so arbitrary.
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