8.5
Viewer Rating
Combines user and critic ratings from four sources
Neon Genesis Evangelion: The End of Evangelion (1997)
Neon Genesis Evangelion: The End of Evangelion (1997)
Overview
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.
Starring Cast
Where to watch
Rating & Dimensions
Bias Rating
Analyzing...
Leans Progressive
Political: Leans Left
Diversity: Moderate
LGBTQ: Neutral
Christianity: Negative
Judaism: Negative
Viewer Rating
8.5
Overview
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.
Starring Cast
Where to watch
Detailed Bias Analysis
Analyzing...
Leans Progressive
Primary
The film critiques libertarian individualism and authoritarian collectivism, ultimately endorsing a difficult but hopeful path of collective action, human connection, and altruism to repair societal ills, positioning it as a left-leaning text advocating for societal change.
The film primarily features a Japanese cast, which is traditional for its cultural context, without explicit demographic diversity. However, it incorporates strong female characters who challenge traditional gender roles and includes subtle queer subtext, contributing to a light presence of DEI themes within its narrative.
Secondary
The film contains queer subtext through the interpreted romantic devotion of Kaworu Nagisa towards Shinji Ikari. However, this is not explicitly confirmed, leaving the portrayal ambiguous. It neither explicitly affirms nor denigrates queer identity, resulting in an incidental depiction that avoids strong positive or negative arcs.
The film extensively recontextualizes Christian iconography and terminology (e.g., Angels, Lilith, Adam, Lance of Longinus) as a symbolic framework for the manipulative and destructive 'Human Instrumentality Project.' These elements are associated with a grand, esoteric plan that leads to existential horror and the forced dissolution of individuality, rather than depicting actual Christian faith or virtues.
The film utilizes elements from Jewish mysticism (Kabbalah) and sacred texts (Dead Sea Scrolls) as foundational elements for its apocalyptic plot. These are presented as ancient prophecies and mystical frameworks guiding a destructive human-engineered 'Human Instrumentality Project,' rather than being portrayed with respect for their religious significance or spiritual depth.
The film does not feature any identifiable transsexual characters or themes. Its narrative focuses on existential, psychological, and apocalyptic themes without engaging with transgender identity or experiences.
The film features female characters like Asuka Langley Soryu and Rei Ayanami who engage in combat piloting giant mechs (Evangelions). While they are central to the action, their victories are achieved through the use of advanced technology against other mechs, not through direct physical combat against male opponents. Misato Katsuragi uses firearms, which are excluded from the criteria.
The film is a direct continuation of the Neon Genesis Evangelion series. All established characters maintain their canonical genders from the original series, and no characters from prior source material are portrayed with a different gender.
The film is a direct continuation of the anime series, maintaining the established racial depictions of its characters. No characters originally established as one race in the source material are portrayed as a different race in this film.
Viewer Rating Breakdown
User Ratings
8.1
8.3
Critic Ratings
9.2
N/A
More Like This
Leans Progressive
8.7
Evangelion: 3.0+1.0 Thrice Upon a Time
(2021)
Political: Center
Diversity: Moderate
LGBTQ: Positive
Leans Progressive
7.3
Neon Genesis Evangelion: Death and Rebirth
(1997)
Political: Center
Diversity: Moderate
LGBTQ: Positive
Center
7.7
Dragon Ball Z: Bardock - The Father of Goku
(1990)
Political: Center
Diversity: Moderate
Female Combat: Yes
Center
6.9
Afro Samurai: Resurrection
(2009)
Political: Center
Diversity: Moderate
Female Combat: Yes
Leans Progressive
8.4
The Boy and the Heron
(2023)
Political: Strong Left
Diversity: Moderate
Center
7.5
Kamen Rider: Beyond Generations
(2021)
Political: Center
Diversity: Moderate
Female Combat: Yes
Leans Progressive
6.7
Fate/Grand Order: Divine Realm of the Round Table - Camelot Wandering; Agateram
(2020)
Political: Leans Left
Diversity: Moderate
Female Combat: Yes
Leans Progressive
7.0
Doraemon: Nobita and the Winged Braves
(2001)
Political: Leans Left
Diversity: Moderate
Leans Progressive
6.7
Doraemon: Nobita and the Knights on Dinosaurs
(1987)
Political: Leans Left
Diversity: Moderate
Leans Progressive
8.7
The Tale of The Princess Kaguya
(2013)
Political: Leans Left
Diversity: Moderate
Leans Progressive
7.0
Doraemon: Nobita's Dinosaur
(1980)
Political: Leans Left
Diversity: Moderate
Progressive
7.7
Belladonna of Sadness
(1973)
Political: Strong Left
Diversity: High
Leans Progressive
6.9
Doraemon: Nobita's Treasure Island
(2018)
Political: Leans Left
Diversity: Moderate
Leans Progressive
6.8
Mobile Suit Gundam SEED FREEDOM
(2024)
Political: Leans Left
Diversity: Moderate
Center
8.2
Jujutsu Kaisen 0
(2021)
Political: Center
Diversity: Moderate
Female Combat: Yes
Progressive
7.2
Mononoke the Movie: Chapter II - The Ashes of Rage
(2025)
Political: Strong Left
Diversity: High
Progressive
8.1
Tokyo Godfathers
(2003)
Political: Center
Diversity: High
LGBTQ: Positive
Progressive
9.0
Attack on Titan: THE LAST ATTACK
(2024)
Political: Leans Left
Diversity: Moderate
LGBTQ: Positive
Female Combat: Yes
Leans Progressive
8.3
Ponyo
(2008)
Political: Leans Left
Diversity: Moderate
Leans Progressive
7.3
Fullmetal Alchemist the Movie: Conqueror of Shamballa
(2005)
Political: Leans Left
Diversity: Moderate
Female Combat: Yes