Kaiju No. 8: Mission Recon is basically all set to make its NA theatrical debut in both the US and Canada. When will that be, you might ask? Well, this anime film recapping the events of the first season of Kaiju No. 8 will make that debut on a trio of dates on April 13, 14 and 16, 2025. The first
Kaiju No. 8: Mission Recon is exactly what it says on the tin. It's literally just an anime film recapping most of the first season. Not even entirely the first season either. Oh well, at least we get a fun OVA starring Soshiro Hoshina tacked on at the end as a treat. Now if only the entire cast
Kaiju No. 8 fans might be quite interested in seeing Kaiju No. 8: Mission Recon when it hits theaters on April 13, 14, and 16, 2025. Yes, it's basically an anime film recapping the entirety of the first season. Yes, you're probably going to be a bit bored during much of its 119 minutes runtime.
Kaiju No. 8 is getting to a be a pretty popular anime here in NA. It's not hard to see why either, especially if you're a fan of the manga of the same name by Naoya Matsumoto. As it turns out, a military science fantasy story involving the not-JSDF fighting a forever war against kaiju trying to
Sasaki and Peeps gives us plots galore being brewed up, as you might expect from Ep. 15 "Concealment and Infiltration" with that title. Complete with both the faking of a death and an undercover operation to investigate the death game faction. It's all great ingredients for some serious political
Sasaki and Peeps brings us one big magical SNAFU in Ep. 14 "Death Games and Demons", complete with a bloody fight and civilian deaths. As you might imagine, this is as huge a problem as the title suggests. And yet, it still falls short of a true action-packed episode due to the lack of action
Who could've guessed that a film about a stinky fisherwoman and a wicker husband would end up being one of the most romantic movies of the year? For all its vulgarity and absurdity, Wicker weaves a surprisingly sincere, shockingly sweet fable of against-all-odds love and a dismantling critique of