All You Need Is Kill, 2026.
Directed by Ken’ichirô Akimoto and Yukinori Nakamura.
Featuring the voice talents of Ai Mikami, Natsuki Hanae, Kana Hanazawa, Hiccorohee, and Mo Chugakusei.
SYNOPSIS:
In a time loop during an alien invasion, a resourceful but isolated young woman must navigate the repetition of death until she crosses paths with a shy young man trapped in the same cycle. Together, they fight to break free from the loop.
If some of the plot details to be mentioned in this review and even the title of the film ring a bell, that’s because directors Ken’ichirô Akimoto’s and Yukinori Nakamura’s All You Need Is Kill (based on the manga by Hiroshi Sakurazaka here by a screenplay from Yûichirô Kido) has already been adapted in live-action form as the Tom Cruise/Emily Blunt-led vehicle Edge of Tomorrow (although it was later changed back to that original title for some versions of the home video release). Let’s also be honest, it’s very difficult to forget such an all-time memorable, punchy title. As someone who adores that Hollywood adaptation and believes it to be one of the best sci-fi movies of the century thus far, it was perhaps all but guaranteed that this anime interpretation would have a similar effect.
Reversing the gender roles from the source material (something always some to make irrational and insecure purists who typically happen to be men mad), this version is more centered on Rita (voiced by Ai Mikami), a soldier stationed at the side of Darol, which essentially looks like a humongous, 25-kilometer-sized electromagnetic tree that mysteriously appeared one day. Today is the anniversary of that day, and now plant-like monsters have emerged, killing everything in their path. However, whenever Rita is murdered, she awakens to start the same day over again, where everything about her morning routine to her cafeteria stopped plays out the same, with each member of the supporting cast doing and saying the same exact lines.
As such, Rita begins a trial by fire, studying, attacking, learning, and dying over and over while equipped with nothing more than an exoskeleton and some attached melee weapons. Meanwhile, the creatures also have a red spring in the center of the plant where spores meet, which is essentially video game logic for a damage-sponge weak spot. What’s fascinating about that is that this narrative, regardless of medium, is now getting another adaptation following the rise of rogue-lites, a relatively new genre of gaming prioritizing dying alongside strict learning curves until one amasses enough skill to get through the whole ordeal in one go.
And while there are hints of a trauma-laced path reflecting that she isn’t only stuck in a time loop but life itself, it is also likely for the best that this version doesn’t care about storytelling much at all, opting to ride the wave of the action-oriented high concept premise for all it’s worth with little pauses and maximum thrills, aided by resplendent animation. That’s also not to say Edge of Tomorrow was worse off for doing so, but this one adopts a different, distinct identity and confidently executes it.
Along the way, Rita makes an acquaintance with Keiji (voiced by Natsuki Hanae), an introverted gamer, helpless on the battlefield, stuck in life, and experiencing the same time loop. When one of them dies, the day starts over. Together, they are forced to work together to figure out how to end the loop and change themselves for the better. While this take on All You Need Is Kill is light on story and emotional stakes, it’s lean and to the point, elevated by some truly trippy, colorful visuals and breathtaking battle sequences.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder
