
Uchu Sentai Kyuranger vs. Space Squad
2018

2017
Director
Koichi Sakamoto
Runtime
85 minutes
Average Rating
No ratings yetSynopsis
Space Sheriff Gavan vs Tokusou Sentai Dekaranger features the return of Yuma Ishigaki from 2012’s Space Sheriff Gavan: The Movie and the 2015 Space Sheriff Next Generation films. The first installment will join the two police themed heroes as they face a massive space crime organization.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film adheres to traditional hero tropes focused on combat and team cohesion. It lacks any exploration of queer identities or narratives that critique heteronormativity.
Gender Representation
The ensemble follows established genre hierarchies common to Super Sentai. Leadership and combat roles align with traditional action-hero archetypes rather than subverting gender norms.
Racial & Ethnic Diversity
The cast is predominantly homogeneous, reflecting its Japanese production context. Extraterrestrial species serve as standard antagonists rather than nuanced explorations of racial or ethnic diversity.
Religious & Cultural Diversity
The story centers on space police and cosmic order. It reinforces institutional authority and stability rather than critiquing social structures or exploring moral relativism.
Disability Representation
Characters are defined by physical prowess and technological augmentation. There is no evidence of characters navigating neurodivergence or physical disabilities with agency.
Strengths
Areas for Improvement
AI Analysis
Space Squad: Space Sheriff Gavan VS Tokusou Sentai Dekaranger is a high-octane crossover designed for genre spectacle. It prioritizes franchise continuity and physical action over the exploration of complex social identities or intersectional themes. The narrative reinforces traditional authority through its space police protagonists. It operates within a framework of established hero archetypes, focusing on combat efficacy and institutional stability rather than deconstructing social hierarchies. Ultimately, the film functions as a standard Tokusatsu production. It delivers on its genre promises but avoids engaging with progressive identity politics or the subversion of conventional norms.

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