
Uchu Sentai Kyuranger vs. Space Squad
2018

2017
Director
Koichi Sakamoto
Runtime
55 minutes
Average Rating
No ratings yetSynopsis
Girls in Trouble: Space Squad Episode Zero is an installment in the Toei Company V-Cinema series. Space Squad serves as a crossover between the revival of the Metal Heroes' Space Sheriff series and the Super Sentai series Tokusou Sentai Dekaranger. A prologue to Gavan vs. Dekaranger, this movie focuses on the female characters of both series.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film lacks verified evidence of queer narratives or non-cisnormative identities. It maintains a baseline level of inclusion typical of mainstream action media without actively subverting heteronormativity.
Gender Representation
This installment disrupts genre expectations by centering female characters within a traditionally male-dominated hierarchy. It grants these protagonists significant agency, elevating them from supporting roles to primary drivers of the plot.
Racial & Ethnic Diversity
As a Japanese Tokusatsu production, the cast is largely homogeneous. The narrative follows established cultural casting norms, focusing on a localized demographic rather than a multi-ethnic ensemble.
Religious & Cultural Diversity
The story operates within established sci-fi tropes of heroism, justice, and duty. It upholds standard heroic archetypes common to Toei Company traditions rather than exploring diverse cultural sentiments.
Disability Representation
There is no prominent depiction of visible or invisible disabilities. Characters are portrayed through the lens of the heightened physical capabilities required by the action and sci-fi genres.
Strengths
Areas for Improvement
AI Analysis
The film serves as a deliberate narrative pivot, shifting the lens away from male-dominated ensembles to focus on female protagonists. This restructuring provides significant agency to women within the Space Squad universe. However, the production remains anchored in traditional frameworks. The cast is largely homogeneous, reflecting the localized casting norms of the Tokusatsu genre, and there is a lack of representation regarding LGBTQ+ identities or disabilities. Ultimately, while the film succeeds in gender-based narrative restructuring, it does not extend that inclusivity to broader social or cultural dimensions.

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