Viewer Rating
Combines user and critic ratings from four sources
A colossal-sized omnibus film bringing together the last two episodes of Attack on Titan in the franchise's first-ever theatrical experience. After venturing beyond the walls and separated from his comrades, Eren finds himself inspired by this new truth and plots the "Rumbling," a terrifying plan to eradicate every living thing in the world. With the fate of the world hanging in the balance, a motley crew of Eren's former comrades and enemies scramble to halt his deadly mission. The only question is, can they stop him?
A colossal-sized omnibus film bringing together the last two episodes of Attack on Titan in the franchise's first-ever theatrical experience. After venturing beyond the walls and separated from his comrades, Eren finds himself inspired by this new truth and plots the "Rumbling," a terrifying plan to eradicate every living thing in the world. With the fate of the world hanging in the balance, a motley crew of Eren's former comrades and enemies scramble to halt his deadly mission. The only question is, can they stop him?
The film offers a nuanced critique of ultranationalism, fascism, and ethnic persecution, aligning with progressive values that condemn such ideologies and highlight the tragic consequences of extremism and state violence.
The movie features visible character diversity within its European-inspired setting, without explicitly recasting traditional roles based on race or gender. Its narrative offers a subtle critique of power imbalances, nationalism, and the consequences of war, exploring themes of equity and justice without explicitly targeting traditional identities for negative portrayal.
Attack on Titan: THE LAST ATTACK portrays LGBTQ+ themes through queer-coded characters and relationships, such as the deep emotional bonds between Levi and Erwin, and the identity journeys of Ymir and Historia. The film maintains Hange Zoë's gender ambiguity, supporting non-binary interpretations. This approach emphasizes emotional complexity and nuanced character dynamics, resonating with LGBTQ+ experiences through subtext rather than explicit declarations.
The film features Mikasa Ackermann, a highly skilled combatant, who consistently defeats male human opponents in close-quarters combat using blades and martial arts. Annie Leonhart also demonstrates superior hand-to-hand combat skills against male characters.
The film utilizes Christian motifs such as sacrifice, sin, redemption, and persecution to enrich its narrative. These themes are presented with gravity and depth, aligning the narrative with the dignity of these concepts and fostering audience sympathy for the persecuted, reflecting a positive engagement with Christian themes.
Judaism is referenced through the theme of persecution, likening the plight of Ymir's descendants to historical Jewish persecution. This narrative framing encourages sympathy for the victimized group, thereby affirming the historical experience and resilience associated with the Jewish faith.
Attack on Titan: THE LAST ATTACK does not explicitly feature transsexual characters or themes. The film's narrative focuses on the climactic events of the series, without delving into specific gender identity portrayals. While character interpretations exist within the broader series, the movie itself does not address or depict the transsexual community.
Based on the provided information, no characters in the film have their on-screen gender altered from their established canonical gender in the source material, including Hange.
The animated characters in the film are visually depicted as European-like/Caucasian, consistent with their established appearance in the source material. While the voice actors are Japanese (East Asian), the on-screen visual portrayal of the characters' race remains unchanged from the source, thus not meeting the definition of a race swap.
Combines user and critic ratings from four sources