Film Review: Chainsaw Man — The Movie: Reze Arc

Chainsaw Man — The Movie: Reze Arc
Director: Tatsuya Yoshihara
MAPPA, Crunchyroll
In Theaters: 10.24.2025

A triumph that was three years in the making, Chainsaw Man — The Movie: Reze Arc is the complete cinematic experience: higher production value, an off-the-rails yet earnest story and top-notch direction. It is an unrelenting thrill ride from start to finish. I often compare films to rollercoasters, and if I may again, I would say that this one is comparable to Top Thrill 2, but if we want to go more local, then let’s go with Lagoon’s Cannibal. 

As a straightforward continuation of the first season, Chainsaw Man — The Movie: Reze Arc adapts the fifth arc of the Public Safety Saga in the Chainsaw Man manga. One would think that condensing a whole arc into 100 minutes would leave it feeling overstuffed and underwhelming, but luckily, this arc only has 14 20-page chapters to adapt. As a result, we get a cohesive, succinct and explosive film that takes us on a sweet joyride before stomping on the gas and cutting the brakes along the way. 

The film follows Denji (Kikunosuke Toya, Wind Breaker), the titular Chainsaw Man, as he settles into his new life working for the Public Safety Devil Hunters. As he starts getting closer to his boss, Makima (Tomori Kusunoki, Wonder Egg Priority), a metaphorical grenade is thrown in his path as he finds himself infatuated with the alluringly mysterious and quirky Reze (Reina Ueda, Demon Slayer). All the while, forces conspire to take the Chainsaw Devil from Denji. What he doesn’t know is that danger is closer than he ever imagined.

Chainsaw Man is a work I have a lot of trouble describing. It is so unapologetically weird and insane that simply saying what happens doesn’t do it justice. I mean, the climax of the film involves the protagonist with a chainsaw head and limbs riding a shark man up a building while a typhoon baby creates a tempest and throws skyscrapers around. It goes from 0 to 100 in an instant, but that is what makes it fun. 

Tatsuki Fujimoto has made a name for himself with his unhinged, lewd and wacky writing style. And yet he still manages to develop deeply complex characters and address dark themes in ways that are both unconventional and profound. Yes, Denji says his motivation is to touch boobs, but you have to remember that he is a teenage boy who has only ever been treated like a dog by everyone around him. Even the devil hunters he works with don’t fully view him as human, but as another tool in their arsenal. What he craves is intimacy: closeness with another person, and that doesn’t necessarily mean it has to be romantic or sexual, just a connection that reminds him that he is human. You see this theme pop up in other works by Fujimoto. I would suggest last year’s Look Back for a quick watch, especially if you want more insight into his work. For Fujimoto, it’s all about pushing boundaries and finding distinctive and unique ways to express his ideas. 

The burgeoning romance between Denji and Reze is the endearing chainsaw heart of the film. In fact, the first hour of the film is surprisingly devoid of action and feels more like an indie coming-of-age film. Seeing our socially inept protagonist grow close to someone who is on the same wavelength as him is both sweet and heartbreaking, as you are reminded of the normalcy he was denied. The film takes great pains to convey Denji’s feelings through visual metaphors, character animation, lighting and stylistic flourishes.

Helmed by Tatsuya Yoshihara, the film introduces a drastic shift from the first season’s more muted and smoother art style. Opting to remain more faithful to the manga, the colors are brighter and more saturated while the lines are sketchier and more prominent, which brings to life the comic’s chaotic energy. I also want to acknowledge the great use of rotoscoping. It captures delicate movements that help us better understand the headspace of the characters and makes 2D character models feel like they organically belong in the 3D spaces. The mix of 3D space and 2D characters is used to great effect in the bombastic fight scenes, where colorful abstract flourishes take over and characters move so wildly they go off model, delivering exciting, impactful moments that make you feel every hit. This is due in no small part to the creative composition and framing of the film. The blocking is deliberate, and the way the camera incorporates experimental techniques exudes a level of playfulness, excitement and curiosity. I admire the film’s choice to play with perspective, especially in quieter, more mundane scenes — the peculiar shots keep the film engaging. It all just showcases Fujimoto’s love of cinema.

Great visuals can make a movie, but great sound elevates it. One of the reasons animation is so expensive is because sound also needs to be created. The foley artists of this project did not take any shortcuts when crafting the distinct clangs and pitter-patters of the film. From the sharp slices and dices and ear-ringing explosions of the climactic fight to the crisp footfalls of the characters’ walk, the immense attention to detail was evident. We also can’t talk about sound without mentioning the amazing track by Kensuke Ushio. Even without looking it up, I knew he was the composer. The serene ambient orchestral melodies like the ones in A Silent Voice, with evocative synths and the intense rock composition accentuated by a choir like in Devilman Crybaby, were unmistakable. The sweet piano score complements and highlights the emotions of intimate scenes. The evocative synths oscillate between sweet piano themes and fast-paced beats that create an anxiety-inducing experience, all the while ramping up to the energetic and epic battle themes. The opening, “IRIS OUT” by Kenshi Yonezu, is an eccentric and catchy track that just sticks in your head and even incorporates audio from the movie.

While I have a deep love and appreciation for Chainsaw Man — The Movie, I can acknowledge that it is not for everyone. The concepts are very out there, and the characters are over-the-top and can get on your nerves at times. It all takes some warming up to. And while I can wax poetic about how Fujimoto uses lewd concepts to explore themes of manipulation and power dynamics, there’s no denying that at a glance, this show is pervy as hell. This film also sidelines a few fan favorite characters in favor of introducing cannon fodder to up the stakes. Let’s just say that minimizing property damage is not in the devil hunters’ repertoire. With all that said, there is still a lot to get out of this movie.

Chainsaw Man — The Movie brings all the gory, electric fun of the series to the big screen and ups the ante tenfold. Sweet, endearing moments that stick with you are packaged alongside exciting, blood-pumping fight sequences and a great opening tune is the bow on top. This film shows why the medium of animation is so amazing. It’s an unhinged celebration of art and storytelling. —Angela Garcia 

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