Code Geass: Fukkatsu no Lelouch

Since the demise of the man believed to be Britannia's most wicked emperor one year ago, the world has enjoyed an unprecedented peace under the guidance of the United Federation of Nations. However, this fragile calm is shattered when armed militants successfully kidnap former princess Nunnally vi Britannia and Suzaku Kururugi, the chief advisor of the Black Knights, sparking an international crisis.

The powerful and untrustworthy Kingdom of Zilkhstan is accused of orchestrating their capture. To investigate, world authorities send Kallen Stadtfeld and her associates on a covert operation into the country. There, they encounter the immortal witch C.C., who is on a mission to complete the resurrection of the man responsible for the greatest revolution in history—a legend who will rise up, take command, and save the world from peril once again.

[Written by MAL Rewrite]

Lamperouge, Lelouch Main

Fukuyama, Jun Japanese

C.C. Main

Yukana Japanese

Stadtfeld, Kallen Main

Koshimizu, Ami Japanese

Kururugi, Suzaku Main

Sakurai, Takahiro Japanese

Lamperouge, Nunnally Main

Nazuka, Kaori Japanese

Gottwald, Jeremiah Supporting

Narita, Ken Japanese

Asplund, Lloyd Supporting

Shiratori, Tetsu Japanese

Fenette, Shirley Supporting

Orikasa, Fumiko Japanese

li Britannia, Cornelia Supporting

Minagawa, Junko Japanese

el Britannia, Schneizel Supporting

Inoue, Norihiro Japanese

Cook, Justin Producer

Yukawa, Jun Producer

Tsuchiya, Yoshimasa Producer

Herek, Samantha Assistant Producer

Reviews

Feb 17, 2019

GolbeztheGreat

Recommended

More than anything else, this is a movie for those who want to see the Code Geass cast again. As long as you have limited expectations and are willing to adapt to the changes in format, presentation and characterization, the movie may reward you with a good time

If you're not a fan, this will do little for you. If you want everything to be the same as before, results will be mixed. And, if you're a shipper, this movie might either warm your heart a little or send you into a spiral of depression and denial.

Before analyzing the film, let’s take a step back. ... Was Code Geass a masterpiece or a train wreck? Perhaps both or something in between? Even at this late point, over ten years after the dramatic conclusion of Code Geass R2 that sent waves of emotion and memes across the Internet, the lasting popularity of the show among contemporary anime viewers is an unquestionable fact but history, which remains beyond all of our fleeting emotions, has still not reached a final verdict on its quality.

For the sake of transparency, it must be pointed out that this new movie, Lelouch of the Resurrection, does not pretend to be a direct sequel to the Code Geass R2 television series. On the contrary, it has been publicly described by director Goro Taniguchi, writer Ichiro Okouchi and other Sunrise staff members as a canonically separate product existing within its own alternate universe. What does that mean? The story of Lelouch of the Resurrection is a parallel one. It is an alternate continuation, one which follows the three recent compilation movies that introduced a set of more or less significant changes to the original story.

Keeping that in mind, this new movie presents a variation of the original Code Geass phenomenon. It may not be as structurally compromised as the second season, thankfully, but the film still seems likely to produce a high degree of controversy and polarization for completely distinct reasons. This time, the fans will have to decide whether they can accept that a shorter running time inevitably leads to reduced expectations of complexity. While never a profoundly sophisticated anime, there is going to be an objective limitation in narrative scope, introspection and thematic depth when the staff is asked to tell a new Code Geass story within no more than two hours.

Can this movie be worth watching in the eyes of most Code Geass fans? I believe so, yes. There are more than enough moments of raw theatricality, improved cinematography, character highlights, thrilling mecha action sequences, impressive animation, excellent sound composition, nods to audience favorites and appeals to nostalgia within Lelouch of the Resurrection. Furthermore, the film does live up to its own subtitle, which is usually taken for granted yet always good to confirm. Whether each of us was looking forward to it or not, the truth is that Lelouch has come back.

Nevertheless, Resurrection also presents both Lelouch and us with a quiet yet relevant challenge. Time has passed and the world has moved on. As such, the film provides somewhat different interpretations of beloved characters that may not necessarily react as we expected. In that sense, fans will have to question their own preconceived notions and memories of those familiar faces they had once embraced more than a decade ago and contrast them with the reality of these fictional individuals who are now living under a variety of different circumstances.

STORY: 7/10

Above all, it is an essentially traditional premise, based on tracking the return of a legendary hero who will then bring the cast together for the sake of carrying out a rescue mission. That simple framework is fully compatible with the Code Geass brand. For the intended purpose of providing entertainment value, the story does a more than serviceable job and hits all the minimum notes. As events develop, initial success brings forth more complications and the enemy responds, which in turn requires the use of additional counters. Fanservice for all genders is present, perhaps not in excess by the standards of currently popular anime but also not at the level of scarcity seen in more distinguished productions. Code Geass always tries to have something for everyone, or at least that's the impression a lot of us have received.

When considering the story of Lelouch of the Resurrection from a purely critical perspective though, it doesn't manage to consistently impress. Code Geass never did have strong writing form, so those expectations must already be held in check, but in a way the apparent simplification of the story beats actually makes for a more comfortable viewing. We are not following a particularly complicated web of intrigue, no, but witnessing an extra adventure within the status quo of a world that is mostly at peace as a direct result of Lelouch's final grand plan: the Zero Requiem.

There is a fair degree of amusement though, in the knowledge that the titular protagonist is initially indisposed, so to speak, for a reasonable chunk of the movie. That allows other characters to take action early on. What's more, the story also gives us a few short opportunities to see the metaphysical side of Code Geass in a way that had not been possible during the original television broadcast, presumably due to the budget limitations of a seasonal production.

As previously mentioned, the plot itself is rather straightforward with only a handful of genuine surprises. If you seek a barrage of plot twists, that is not exactly the case here. Overall, I would say there are no more than two of them. Both the running time and, likewise, the large cast size are harsh mistresses indeed. To be clear, key characterization sequences are still present yet often abbreviated. Small but arguably telling details in the dialogue or in the facial expressions of the characters may be missed if you happen to blink at the wrong time or lose concentration. A number of topics are only addressed in a brief, implicit or indirect manner, which may cause certain viewers to feel confused or annoyed. This being Code Geass, after all, means that most folks are going to look for a grand spectacle instead of nuance, but it is worth noting how exactly that translates to a movie format.

In that respect, the underlying structure of this new film works much better when digested as a Code Geass anniversary project or cast reunion special, rather than taken as an absolutely necessary part of the storyline. I believe those who are prepared to cherish it as such may, at the end of the line, find most of the experience to be a welcome one. Others, sadly, will not be so lucky.

Fortunately, I believe there are a number of secondary paths available for those who wish to alleviate such concerns with an open mind. While the tapestry is indeed far less complex than before, that doesn't mean there is no room for any thematic analysis. It may be obscured or simplified, at first glance, but the elements for that exercise are still there. For instance, the main antagonists do have less screen time and layers than others we have seen before. Yet, all the same, there is a point being made there. Why, pray tell, are the High Priestess and the King of this new enemy nation so...familiar to another pair of Code Geass siblings? Rather than qualifying this as nothing more than a lack of creativity, I believe it is entirely intentional and is purposely showing us the inherent risks of an excessive reliance on brotherly or sisterly love as motivation.

See, amidst all the posturing and bombast, one question that Lelouch of the Resurrection does quietly ask is whether there is still room for a newly resurrected Lelouch in the world of Code Geass. Which is a topic that, to say the least, also has implications for the future of the property as a whole. Even when Lelouch comes back, to the joy of many characters and the audience, he is no longer a factor for rebellion and instability, at the global or strategic level, even though he may still bring fabulous chaos to the battlefield on the tactical level. One way or another, the world has moved on. This isn't a fight against, say, a remnant of Britannia or a personal vendetta against the royal family. That's all in the past, so it is natural to see the situation through other lens.

To reiterate the above, I do not deny the finer points of this state of affairs are often left up to the viewer to piece together because they are only occasionally voiced by the cast in an explicit manner. That is a valid line of criticism. Yes, I absolutely wish this movie had been a full television season in order to slow down the proceedings and carefully portray the emotional conflict at hand in great detail, scene by scene, episode by episode. That is why this movie cannot possibly be entirely satisfactory in this regard.

Nevertheless, at least some unspoken questions and unspoken answers can still be communicated to the audience with other forms of expression as well as in retrospect. I do not believe the Resurrection movie ignores every underlying issue at the back of the fan's mind, such as what Zero Requiem meant for the world and for Lelouch. We do not witness an extended debate or exposition dump about it, no, but that does not mean the characters have ignored the consequences of it. When the film is taken as a whole and carefully dissected, a few of the relevant implications can be reconstructed and brought into the light.

In other words, my thematic reading is that at least a portion of the spirit of Zero Requiem has been disseminated throughout the film and fuels the initial reactions of various characters, particularly at the beginning of the movie as well as, to an extent, around the mid-point of the film and right at the end. The explicit absence of related terminology from the dialogue does not mean it doesn’t inform the situation. Perhaps more importantly, subject to the viewer's own interpretation of the movie narrative, I believe that Lelouch's choices at the conclusion of Resurrection implicitly yet undeniably represent, beyond any other immediate trigger or whimsical timing, an acceptable answer to what role he sees for himself in this new alternate version of Code Geass and what would be the best way to move forward.

Whether my summarized arguments happen to convince you or not, the simple fact that I am able to make them in the first place should be a sign that no, you do not necessarily have to turn off your brain or view everything cynically in order to watch this movie. Not more than when it comes to discussing the original Code Geass, in all honesty, with its variable amounts of realism, insanity and campiness.

I do have a warning for those who may wish to solve the once infamous mystery of the cart driver, red herring or not. They will soon find that, technically speaking, this new theatrical feature is not providing an answer to their question. Instead, Resurrection is simply showing us another route that the story of Code Geass could have taken, in an alternate world, but it is not meant to be interpreted as an obligatory sequel. The viewer is still free to believe the original series is complete and didn't lead to the events of Resurrection. As you can imagine, some have chosen to do just that.

Quite sincerely, I do not hesitate to acknowledge that there is always the option of leaving this movie to the side and choosing to remember Code Geass, with all of its highs and lows, as having already ended back in the year 2008. The march of time may not have been stopped in real life, nor within the boundaries of the entirely fictional World of C, but time can still remain frozen inside the hearts of the select groups of viewers, if that is what they unquestionably prefer.

CHARACTERS: 7/10

As previously stated, knowing there have been vocal fan reactions to Lelouch of the Resurrection, the portrayal of the main characters is a decisive factor in terms of determining how much of the movie can work for each individual person in the audience. Some will find any noticeable changes or unfulfilled expectations to be a source of intolerable inconsistency, while others can find ways to be at relative peace with the character portrayals found here. As I will now proceed to explain by focusing on the main characters of this motion picture, I happen to belong to this second group.

Once Lelouch has been fully reintroduced to the audience, he displays several of the same characteristics as a magnificent bastard, albeit on a more limited scale, which is a welcome sight. What does qualify as worrying, to a degree, is that he might feel detached or even aloof at points. His reactions can come across as muted. Lelouch isn't entirely lacking in emotion and charisma, yet the man is no longer thirsty for revenge or redemption. That fire isn’t burning anymore. After all, the conclusion of the previous storyline had extinguished it in grand fashion.

Quite bluntly, Lelouch has already gone through an entire character development arc in the original TV series as well as in the new compilation movies that adapted the same basic plotline and set the stage for this story. We are not here to see him face such challenges again, nor is the story about renegotiating the terms of the Zero Requiem. This new film is no more than an extended addendum, appendix or epilogue to the same, rather than an attempt to portray a second character arc of equal impact, length or complexity. Simply put, there is no time for rediscovering the wheel during this adventure.

Similarly, there are very few among those Lelouch encounters during Resurrection who haven’t decided to move on and accept that the world is in fact a better place now thanks to him. This had been established before in previous Code Geass materials, including the last scenes of both the new compilations and the TV series. As things stand, Lelouch’s return is not a source of great controversy to the majority of the returning cast. There are doubts expressed, but only briefly. With a longer running time, rather than a single movie, it would have been interesting to explore that tension in greater detail rather than through a mere handful of objections.

It might be obvious as a result of the title and what a number of fans used to speculate back in the day, but the movie makes this much quite explicit: Lelouch's own status is no longer that of a regular person. With that in mind, the fact he isn’t quite the same starts to make sense. Lelouch even dares to make an unusual choice during the final scenes of the movie in a manner that is rather telling. After all, this is not the same Lelouch who rebelled against Britannia. Too much has already happened since then and Lelouch is, in a way, merely witnessing the world that he once left behind. Therefore, the conclusion of the movie retroactively puts his new behavior in context by giving us the general idea of what could be Lelouch's remaining goals and, upon closer inspection, why he cannot go back to the ways of old.

Curiously enough, this is a Lelouch who, based on certain fleeting lines of dialogue, is aware of the initial events of this movie even if he doesn't sit down to discuss them. Once again, the lack of a profound exploration of his humanity can be tangibly felt and is sure to alienate a portion of the public. Even so, I find that this change is both intentional and entirely warranted in the context of the new status quo. For me, it is neither irrational nor incompatible with the resulting fallout from his previous characterization.

On that specific note, Suzaku Kururugi finds himself in quite a literal and figurative bind during this film. In this, he is also likely joined by several of his out-of-universe supporters. He was half of the emotional and melodramatic engine that drove the original Code Geass, as a result of his many contradictions that could often polarize the audience as well as make up part of his appeal, but at the end of the story he had reached a landmark state by becoming the heir to Zero. That was in fact, the outcome of his development as a character after the rollercoaster of Code Geass R2.

This movie does, to a certain extent, depict how Suzaku is taking his new life. What is sure to cause controversy is the fact that Suzaku clearly isn’t the focus point. He has become merely an important member of the secondary cast, rather than returning to his earlier standing as would-be deuteragonist. After all, Lelouch of the Resurrection is neither a story of revolution against the system nor a conflict over using the right methods, so Suzaku can no longer be expected to serve as a foil to Lelouch. That chapter is, at least for the time being, closed.

Even then, the staff did not forget the nature of their chemistry and interactions. Suzaku's conflicting emotional response upon meeting Lelouch would be senseless if he did not remember and value their mutual dynamic. But surely, even Suzaku himself is not the same man anymore. How could he possibly be? Suzaku begins this movie by being defeated, as shown in the official trailers and the plot synopsis that is publicly available. That would shake anyone's self-confidence, especially facing the prospect of meeting the original Zero again. Under those conditions, Suzaku has the right to consider if he was in fact the right person for the job. Nonetheless, I do not interpret this as an abandonment of duty on his part. I think it’s a very human reaction. While the sequence in question is longer than that dedicated to other reunions, which reflects that the staff recognizes his relevance, it is still not enough to exhaust all the questions left in the air. Still, we do get to see a proper glimpse of what worries Suzaku now and what he thinks about Lelouch after all this time. As much as I might desire a less abbreviated and much more elaborate handling of the subject matter, given its more prominent portrayal back in the original show, I am of the opinion that it is not impossible to reconcile and rationalize what has happened here.

Conversely, the character known as C.C. ended up playing a more high profile role during Lelouch of the Resurrection than initially expected. For about half of the movie, it would not be an exaggeration to consider her as the co-protagonist. We are able to see a number of events from her perspective. That’s unusual for the property and, in my opinion, a refreshing change of pace. In a way, I almost wish the entire movie had chosen to keep that framing and take its time to fully explain the details, but I can still appreciate what we got.

Moreover, C.C. also represents another dividing line between the characters as seen in the Lelouch of the Rebellion storyline and those who are present in this film. She is not in the same situation, so her interactions with the rest of the cast have changed. Undoubtedly, that is bound to trigger some disbelief, misunderstandings and disappointments.

At the end of the original TV series, it would appear that, one way or another, C.C. had come to terms with her immortal life and was able to move on by living in the new world that Lelouch had created. Make of that what you will. However, that outcome was changed in both subtle and blatant ways due to the three recent compilation movies. In short, during the recap films C.C. was not satisfied by Lelouch’s last decision and felt that neither her own wish nor Lelouch’s promise to her had been fulfilled. That was directly expressed in the last scene of the final compilation.

Therefore, without Lelouch, what would she do? As it turns out, this new story confirms C.C. was willing to take action for herself. Looking back, you could argue that C.C. was more comfortable around Lelouch than with any other character. I have always been of the belief that their relationship was beyond something purely romantic and closer to that of equal partners yet, by the same token, also included an element of seeking companionship. This, as expressed by C.C. herself in both the movie and some of its trailers, is undeniably a selfish action. But who are we to judge? Few things are more human than the search for happiness, an egotistical yet entirely natural objective that would be more relevant for an immortal who is tired of simply accumulating experiences. That is a legitimate outlook and, under the circumstances depicted, can in fact override other aspects of an individual’s personality.

If we take a step back, there is an inherent contrast between selfishness, arguably represented by C.C. in this case, and selflessness, which is more closely symbolized by Lelouch’s decision at the end of the previous storyline. It is also, in my opinion, represented by the ultimate choice Lelouch makes here. Without going into the concrete details, even C.C. couldn’t predict what would happen. She made a gamble, or rather, two of them. One before the movie even started and, perhaps not entirely consciously, another at the end. As with other aspects of Lelouch of the Resurrection, I am of the subjective point of view that the movie provides us with enough building blocks to make reasonable inferences and deductions, but it doesn’t go ahead and spell out everything that is going on. Especially if you take into consideration what had happened beforehand in this alternate Code Geass universe, rather than only having the world of the TV series in mind.

As a final note, a few words must be said about the rest of the characters. There are several quick cameos or smaller roles that will be appreciated by specific subsets of fans but, sadly, I am afraid the sheer size of the ensemble cast of Code Geass emphasizes the restrictions of the film format as well as the consequences of the type of story the staff has chosen to prioritize.

Even so, I found a few interesting points. I am glad to report that Kallen does play an active part during the story, as a powerful fighter both inside and outside of her mecha, but the instances where she can display her own thoughts and emotions are mainly confined to the early half of the film. Nonetheless, it is worth highlighting that she too, makes note of the fact Lelouch has changed. Amusingly, we also see Kallen team up with Sayoko, the infamous ninja maid, for a while.

Furthermore, I almost didn’t expect to see Cornelia again and yet here she is. Compared to the last time we saw her, I found this to be a return to Cornelia’s better days, both with respect to her personality as well as regarding her direct participation in the action. Her own scene with Lelouch is brief but, logically, one of the more emotionally charged.

Shirley is alive in this alternate universe but does not play a huge role. Ultimately, I would say that the most disappointing scenario involved Nunnally, Lelouch’s younger sister, who once again became more of a plot device than anything else. To be fair, she does get at least one big emotional scene that was properly acted and interestingly set up, especially for those who may share a few elements of my previously sketched interpretation of the movie, but her presence was largely lacking.

ART AND ANIMATION: 9/10

The character designs remain, as expected, a striking combination of CLAMP's original drafts and Takahiro Kimura's adaptations for the purpose of animation. If you were fine with all the noodle figures before or even found them pleasing to the eye, you are probably going to feel the same this time around. If not, then I can only wonder why you haven't run away in disgust or laughing like a maniac.

Mechanical designs are another point of interest. The new mecha are, by and large, different enough from what we had seen before but not out of place. Variations on old models, such as the Guren and Lancelot in their latest versions, might be slightly more divisive.

On that note, Lelouch of the Resurrection combines the use of 2D and 3D mecha assets when it comes to portraying the numerous robot battles. I wasn't a fan of this approach, on paper, yet in practice it turned out to be a nice way to appeal to nostalgia as well as open the door to another possible way of expression. Still, I would say Akito the Exiled remains ahead of the 3DCG game in strictly technical terms.

The movie looks wonderful as a work of animation and storyboarding. Compared to the original TV series, the quality of background scenery and character motion has absolutely increased. Not universally, but enough to deserve genuine praise. This is what a Code Geass movie should, by all rights, look like.

SOUND: 8/10

As expected, the sound department is back and mostly in good shape too. Kotaro Nakawaga brings his signature style of instrumental and orchestral composition as well as a small number of more bold tracks and a few familiar pieces which, I can say without hesitation, will contribute to make the majority of Code Geass fans feel right at home in terms of the audio presentation.

Those familiar with ALI PROJECT might want to know there is one of their songs on the soundtrack. I've always found them to be an acquired taste, so I won't really comment on their effectiveness. Unfortunately, FLOW did not participate. Besides that, the OP and ED themes are entirely appropriate for the purposes of the film, particularly if you can look up the translated lyrics and then put them in context.

ENJOYMENT: 8/10

For those who would say the secret to enjoying Code Geass is to sit back and grab a bag of popcorn, this movie definitely delivers. It has that same type of blockbuster appeal.

I don't deny that form of enjoyment. It's always been a part of my experience but I am more inclined to engage in a combination of stances. Don't take seriously what doesn't need to be, because one has to just go with the flow of certain scenes, but be prepared to analyze and think about whatever can be dissected.

Lelouch of the Resurrection didn't provide me with as much ammunition as the original TV show, so I had to recalibrate my expectations. This wasn't possible right after watching the movie just once, which was mostly a visceral experience, so I had to go back and rewatch as well as look up more information and make up my mind about whether the overall package was deserving of my investment. In the end, I think I've come up with a good method. Am I asking everyone to do that? No, just charting out a possible path for interpretation.

If you want to know the temperature in the room, so to speak, the movie has been mostly well-received in Japan. I suspect that's because most fans are willing to play ball with the idea of the film being a celebration of Code Geass that, while perhaps gratuitous and unnecessary, does have some of the energy and feel of the original. Whether it lacks the soul or not, of course, is an entirely different matter. Almost no popular work of fiction is made entirely out of love for the art form. Did Code Geass have a soul to lose? Some would immediately say no. I'd beg to differ, but my short answer is that it is in a transitional state and the future of the property will be what gives us the last word on that.

There are, however, various segments of the fan population who have either ignored or sworn off Lelouch of the Resurrection. Let them do so in peace. You can please some people all of the time, but you can only please all people some of the time. There is no escaping that. Code Geass has been a very good example of what happens when such a rule is taken to the extremes and Lelouch of the Resurrection is once again proving that.

Reviewer’s Rating: 8

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Feb 17, 2019

pearlesscucumber

Mixed Feelings

[Spoiler Warning]

I write this review as a die-hard (male) fan of Code Geass. It was ten years ago when I saw Lelouch of the Rebellion and the degree of plot complexity and rich characterisation was beyond anything I have seen in anime as a teenager. In a certain sense, that anime series helped to shape my anime tastes for the next decade, among other anime classics such as Madoka, Cowboy Behop and Neon Genesis Evangelion. But is it worth it?

Well, there are redeeming points to make about the movie.
- the animation is smooth, well-detailed and its nice to see Code Geass so beautifully rendered on ... the big screen compared to the animation standards 10 years ago.
- The fighting sequences were just as tight and well choreographed as it were in the anime series.

But the answer is no. The movie is a huge slap in the face especially for diehard fans because it disregards the winning formula for what makes Code Geass so brilliant in the first place. A) Lelouch was such an iconic character in anime for good reason, because there is such intelligence in the way he’s being portrayed. In this movie however, his characterisation is reduced to a 2 dimension caricature of who he used to be. Given the enormity of what he went through in season 2 where he decided to DIE for all his actions, in this movie, he doesn’t even seem to CARE why he was brought back – and his return was brought back with a certain degree with indifference. Given the emotional charged nature of his death in season 2 which is the culmination of all his actions and manipulations and lies, Lelouch have always mentioned that he knew he would have to pay the price for all of his actions, hence his famous philosophy in season 1 episode 1 “Those who may shoot are those who may get shot themselves.” The indifferent nature that Lelouch is portrayed with regards to his resurrection negates the emotional investment and cathartic nature that the whole of season 2 has been building up to.The significance of Zero Requiem in second season doesn’t seem to matter, his complex love-hate relationship with Suzaku and other characters are neglected, it’s almost as though this movie centers entirely around the mission in which Lelouch is resurrected to without exploring his motivations, his history, and how he reconciles his death in season 2 with his resurrection in this current reality. As such it’s hard to take seriously that this paper-thin characterisation of Lelouch could actually be the same character as the ones we see in Season 2.

B) One of the most enjoyable points of the Code Geass anime series were the cat-and-mouse games that Lelouch plays with his opponents. Lelouch is such an amazing chessmaster that even as the audience, you cannot see where the plot is moving towards and it’s also gag-worthy when his opponents are competent enough to turn the tables on him. In this movie, I was surprised at the utter laziness of the writing as there were none of those twists and turns that were so brilliantly crafted in the anime series. Instead, Lelouch’s Geass was used as a device that could power through most of the problems faced in the movie. If one only watches the movie and not the series, it would be difficult to see that Lelouch was an intelligent manipulator and mastermind as established in the anime series.

C) The ending is also particularly canon-defying in so many ways. I am not going to spoil any major details, but after the problem was resolved, Lelouch basically makes an arbitrary decision to spend the rest of his life with one person. Which is very weird because firstly, Lelouch in the anime series comes across as the guy that had multiple romantic interests, but he was not interested in pursuing any of these because his main motivation was in destroying Britannia and in saving his sister. The renouncement of his romantic desire for the higher good is in one sense one of the ways which established him as such an iconic anti-hero in the first place. Secondly, the ambiguity of his romantic interests is also why there is a proliferation of various fanbases shipping him with different characters: C2, Kallen, Shirley, Suzaku etc. Given that this was a 2 hr movie and that most of the movie lies in establishing the setting, introducing the problem and new cast, reintroducing Lelouch and henceafter, the resolution of the problem, Lelouch makes a last minute decision to spend the rest of his life with one character, without any rationalisation whatsoever. I remembered asking my friend at this point if I missed any romantic subtext that existed throughout the movie that could explain why Lelouch would make such a well… life-changing decision and the answer is no. It’s basically as coherent if I asked the person sitting next to me in the theatre if they would like to marry me after this. The infuriating thing is that even after a canon-romantic interest is established in the movie, Sunrise continues to release merchandise within the next few days with Lelouch and other characters in postures and positions that suggested a romantic/erotic subtext. It’s as though they wish to exploit the fanbases of all their money, at the risk of disregarding what was even established in the movie. It also cheapens all the relationships that the fandoms are invested in.

Basically, this movie is heartbreaking as it details the utter decline of Sunrise as a respectable anime-production company. Which is actually not surprising because – well look at the Akito movies. The anime series ended perfectly – there was no reason to bring back Lelouch and bringing him back weakens the anime series – it’s like if Shakespare brought back King Lear or Othello; it cuts the cathartic element of the original series. To make it worse, Lelouch is brought back as a shadow of his former self with none of the rich complexities in terms of his characterisation or plot. It is sad that this movie has the depth and richness of a fandisk OVA, rather than a proper follow up to what is arguably one of the best anime series created.

Reviewer’s Rating: 5

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Feb 17, 2019

liujuju

Not Recommended

When the hit TV anime "Code Geass: Lelouch of the Rebellion" first ended its run 11 years ago, its dramatic finale created a divide in the fandom so deep that it appears to exist even today: half the fandom wanted Lelouch alive, the other half wanted/believed him dead. Whichever camp you are from, however, it was probably difficult not to feel at least a little curious (if not excited) when Sunrise first announced its plans for a continuation.

Now, with the recent recap/compilation movie trilogy and this new sequel, "Lelouch of the Re;surrection", Sunrise attempts to reboot its most iconic series from the late 2000s and ... breathe new life into the franchise, presenting "another possibility" (in director Taniguchi Goro's own words) with regards to the series' ending and hoping to delight fans with an alternate path and beginning that is offered to Lelouch. And having been a big fan of the original series for 11 years, I was of course interested to see where they would take it.

As a continuation that still relies on the same major plot elements from the TV series to pull its weight, though, "Re;surrection" fails in terms of plot and characterization - and fans hoping for a sequel that at least stays true to the tone of the original series may find themselves sorely disappointed. *Mild and non-detailed spoilers ahead.*

Those who enjoyed the original series ("Rebellion") would be able to agree that two large factors contributed to its overall success across a wide demographic: 1) Plot complexity and 2) Complex and three-dimensional characterization, especially in the case of leads: Lelouch, C.C., and Suzaku. "Re;surrection", however, not only fails to meet the standard of both - but even as an "alternate", ultimately ends up destroying what was crucial and praiseworthy about the series it is based on.

1. Story
Given that this is a two-hour movie, it was probably difficult to fit in any philosophical discussion about politics and ideologies, something which was a driving force behind "Rebellion". While that is fine, and understandable (the world is supposed to be mostly fixed by now, after all), the writers struggle to introduce new stakes to the story that are just as compelling. A new country and a new cast of characters are brought in, but are clearly manufactured as an excuse to bring Lelouch back for one final "mission", since they aren't developed much by the end of the movie and the audience is not given much meat that would help us sympathize with their motivations (if anything, sympathy for Chamna and Chalio is cheap since it relies on evoking the same "oh my younger sibling cannot walk" sentiment that we got with Lelouch and Nunnally). The conflict that arises due to the presence of these new characters also does not provide much room for the twists and turns which made the story of "Rebellion" so enjoyable - indeed, at many points it starts to feel as though Lelouch's Geass is more of a trump card than his brilliance and his scheming. Only one noteworthy "twist" is present, and even then it is already set up such that every member of the audience is already expecting it by the time it happens.

There are also several inconsistencies plotwise, but one in particular stands out, and shockingly so: As a new story that is built entirely on the impact and result of the Zero Requiem, there is a complete and inexplicable failure to address the objective of the Requiem, and how Lelouch's return is in conflict with it. Whether or not you feel that Lelouch is better off dead, any serious and long-time Code Geass fan would be able to acknowledge the impact of this conclusive plot event, as well as the meaning it lent to all of Lelouch's actions throughout the course of the series. And everyone should be able to agree that any continuation which involves Lelouch coming back from the dead must at least acknowledge the fact that it contradicts the atonement that Zero Requiem was supposed to serve as for Lelouch i.e. the reason why Lelouch died in the first place. Whether brief or at length, this conflict needs to be discussed in order to provide some reconciliation, and give meaning to the path that Lelouch will choose for himself now that he is alive once more.

But none of that takes place here. Despite other characters "telling" us in one or two brief lines that Lelouch had fully intended to die, Lelouch himself is not shown to have much of an opinion on the matter, doesn't say anything about it, and appears blase about having been brought back from the dead throughout the entire movie. The Zero Requiem is hardly mentioned, the POINT of Zero Requiem is never discussed, and in fact, nobody in the movie seems to really remember it - not even Suzaku, who clearly demonstrates that he has also forgotten its purpose for himself (explicitly laid out by Lelouch in his death scene and just as explicitly accepted by Suzaku) in one of his conversations with Lelouch. And if Lelouch DOES have any issues with being resurrected against his will or how it goes against what was originally intended via Zero Requiem, they are never brought up.

And while Lelouch's failure to display any misgivings OR any indication of gratitude at being brought back to life is somewhat troubling, what is more unfortunate is the effect that this puzzling refusal to address Zero Requiem has on story elements: 1. the Zero Requiem is reduced to some cheap plot device/excuse for why everyone is now happy to welcome their savior back with open arms without questioning him/questioning whether or not it is right that he should live (Lelouch saved the world and we miss him, let's forgive him for all his crimes!) - making light of the entire reason why Lelouch died in the first place 2. Lelouch is now a typical Mary Sue, loved and helped by all, and even the one character who can be said to initially display SOME resistance is superficially hesitant and won over very quickly.

Which brings us to the next point:

2. Characterization
This suffers most notably in Lelouch's case. As the centerpiece of this new movie, our main character now appears detached, distracted, and lacks the fire that once gave his character charisma and dimension. Where "Rebellion" was either brimming with emotional intensity or the occasional sentimental slice of life moment meant to remind us that Lelouch is also a schoolboy who tries to care for his friends (and sometimes fails) - Lelouch's reunions, reactions to, and interactions with other characters are now mostly brief, superficial and lukewarm - some don't even happen on screen at all. Since the basis for all of this relies so much on the Zero Requiem while the Zero Requiem is simultaneously now The Event That No One Wants To Talk About, Lelouch conveniently doesn't need to say or do anything to win characters over - and they also don't have much content for conversations. The only scene that can be considered a proper conversation and an attempt to provide some closure with respect to the preceding storyline is the chat that he has with Suzaku, and even then the impact of this is questionable or hit and miss, given that Lelouch spends half the time being distracted by a laptop (so that they can include a montage of other characters so that this can be introduced into the conversation, ultimately making the entire execution clumsy and somewhat artificial).

As such the characterization relies a lot on the previous series and/or compilation movies to pull its weight, and in some places does not even feel faithful to the original. All of this is indicative of unimpressive writing and the fact that the characterization here cannot stand on its own, especially if one were to compare this to stronger, long-awaited sequels like The Incredibles 2, where beloved characters are expanded, given even more dimension, and given just as warm a reception by audience members who were entirely new to the story.

Lelouch's lack of reaction and opinion to his new situation also means that we are given little insight into what his goals now are, thus making for a flat and uncompelling resurrected Lelouch, who currently doesn't appear to be driven by anything other than a need to rescue Nunnally - a simplistic problem that obviously gets resolved by the end and doesn't do anything to improve Nunnally's characterization either, since she is once again back to being the poor damsel in distress and kept unconscious for most of the movie.

A similar problem plagues C.C., who used to be complex, layered, and one of the few people capable of calling Lelouch out on his bullshit. One would have expected a continuation to at least touch on points that "Rebellion" did not cover or close sufficiently, such as her current motivations or view on living on post-Requiem, but all we get are repeated and vague insistences that she is being "selfish", we learn nothing new and nothing more about her, and because she no longer challenges Lelouch in any way here, she ends up as nothing much more than another girl in Lelouch's harem of admirers.

C.C. and Lelouch ARE given a scene where she mentions her past to snap him out of his funk but 1) this is done in a way that is more reminiscent of Kallen slapping Lelouch in Turn 7 rather than C.C.'s original personality 2) it still gives us nothing more than an airy vague two-liner reference to C.C.'s past, 3) the fanservice here (one reason why the Code Geass franchise will never make it to the list of anime classics like FMA, Princess Mononoke, and Spirited Away) in this scene is so awkward, unnecessary and done in such bad taste that any emotional impact this moment was meant to create is immediately stripped away - and you are left wondering if Sunrise really believes its target audience to be so imbecilic that they are incapable of appreciating any emotional scene between two characters without being given something to drool over.

Now of course, Lelouch's transition from anti-hero into full hero is one possible, logical development that one would have expected a sequel to take. But because this transition suffers from a weak plot and such flattened characterization, Lelouch has now become no better than a convenient vehicle for male wish fulfillment. (And before anyone tries to tell me that his horrible stamina is a flaw - no, it's not, in fact it makes him even more of a vehicle since it makes him all the more relatable to that particular segment of the audience.)


Not all is lost though, as the film does still deliver in other areas. Every character looks stunning throughout the film, all the illustrations were consistently high in quality, and the animation is nearly flawless, with the exception of one or two small instances with stylistic choices that suggest possible budget cuts (I've never seen Lelouch being faded out to sketchy still images while he sits and thinks, for example).

The action and battle sequences were all thoroughly enjoyable, KMF and hand-to-hand combat scenes alike. Fans of Sayoko and Kallen will not be disappointed as the two get plenty of screentime in fight scenes. And while the character dynamics certainly make Lelouch seem more Mary Sue-ish, most fans should still be able to suspend their disbelief enough to experience and appreciate the emotional high that comes from seeing beloved characters reappear and now unite for a common purpose.

Ultimately, however, while the film certainly carries elements that all Code Geass fans are likely to enjoy - its disregard for and inconsistencies with major plot points, lack of a compelling new story/conflict, and frightfully bad characterization, all make it difficult to see it (and by extension the preceding movie compilations) as anything more than a sloppy "alternate universe" OOC fanfic, and a desperate cash grab by the studio.

Sunrise's own insistence that you treat this as an "alternate timeline" from the original series (at the time of writing the official Code Geass Twitter account has recently reiterated that "Re;surrection" "must not" be mistaken as "Rebellion" while linking related buzzfeed interviews) should more than speak for itself: this sequel has to be presented as separate from the original anime “canon” precisely because it deviates from the tone and character of the original, and cannot function as a true and proper follow up to it.
But even when taken separately with the new compilation movies, the writing is so poor that "Re;surrection" doesn't manage to make itself a faithful and worthy successor to the name of Code Geass - and it certainly is not one that any seasoned and invested fan of Geass would ever be able to take seriously, no matter how much one might still delight in certain parts.

Reviewer’s Rating: 4

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