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Neon Genesis Evangelion: The End of Evangelion

Neon Genesis Evangelion: The End of Evangelion

Animation · Science Fiction · Drama · 1997

SEELE orders an all-out attack on NERV, aiming to destroy the Evas before Gendo can advance his own plans for the Human Instrumentality Project. Shinji is pushed to the limits of his sanity as he is forced to decide the fate of humanity.

Movie details

Neon Genesis Evangelion: The End of Evangelion

“The fate of destruction is also the joy of rebirth.”

1997 Animation · Science Fiction · Drama 1h 27m

Critical arithmetic

One number, for now.

TMDB

8.3 / 10

Community rating

SEELE orders an all-out attack on NERV, aiming to destroy the Evas before Gendo can advance his own plans for the Human Instrumentality Project. Shinji is pushed to the limits of his sanity as he is forced to decide the fate of humanity.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Neon Genesis Evangelion: The End of Evangelion?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Kazuya Tsurumaki · Hideaki Anno

Written by

Hideaki Anno

Megumi Ogata

Megumi Ogata

Shinji Ikari (voice)

Megumi Hayashibara

Megumi Hayashibara

Rei Ayanami / Yui Ikari (voice)

Kotono Mitsuishi

Kotono Mitsuishi

Misato Katsuragi (voice)

Yuko Miyamura

Yuko Miyamura

Asuka Langley Soryu (voice)

Fumihiko Tachiki

Fumihiko Tachiki

Gendo Ikari (voice)

Miki Nagasawa

Miki Nagasawa

Maya Ibuki (voice)

Takehito Koyasu

Takehito Koyasu

Shigeru Aoba (voice)

Court is in session

Put Neon Genesis Evangelion: The End of Evangelion on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.