Why do we hate it?

Very well put.

I didn't like it at first, but after I thought about it, I think it's both not as great as people say is, but also significantly better than what people like to complain about.

Shinji climbs out of the depths of despair and affirms all of the people in his life; affecting changes in their thinking when it's necessary. He reaffirms his familial bond with Misato, he makes peace with and saves Asuka, then affirms the bond between them. He frees Kaworu and points him in a direction to find his own happiness, and does the same with Rei.

Originally, I was mad at how brief all this stuff was, but then I realized none of this stuff even happens in EoE or NGE. I think the movie addressing the bonds between the characters in very broad strokes is a weakness from the perspective of a fan of these characters, but it's a hell of a lot better than not addressing them at all.

And another thing, the movie is a lot more convenient than I expected, now that I think about it. Cause in EoE and NGE, you didn't have much leeway in deciding what happens next, but 4.0 is a lot more open ended; there's plenty left vague for the viewer to speculate. Really, you're pretty replete with options, and even the movie goes out to say whatever the viewer decides is valid enough. I expected Hideaki to be a bigger asshole this time around, so I'm surprised he was rather lenient instead of going with an absolute, set in stone, kind of ending where everything is explained with zero wiggle room.

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>we

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Do people seriously hate it besides not getting the ship they wanted at the end?

We don’t.
The only ones that hate it are the ones who got butthurt from it.

>everyone who dislikes a movie is a crying, butthurt shipper
Cope, the movie is shit

The entire venture seems so self-serving. EOE was a fine ending, all the works after add nothing of value.
Anno mentioned in an interview he spends a lot of time on real estate investments. He has no connection to the man he was in the past. He is no longer capable of soul feeling, world feeling works.

Eva has been self-serving from the start.
And the TV ending was a good ending that honestly didn’t need anything more after.
EoE was incredibly self-indulgent and honestly leaves more questions than it answers.

>but it's a hell of a lot better than not addressing them at all.
Is it? Or rather, why is it necessary at all? The original was entirely focused on the difficulty of reaching out to affirm those bonds and the misery that results from running away in the face of that difficulty. The implication is then that things would be okay if the characters addressed their bonds. We can imagine that if they all moved past their issues, they could have functional relationships. There are even nods toward all of this in the original such as the early series peaceful days stuff where Misato and Shinji are pretty normal or later when Kaji and Misato develop an adult relationship (his telling her about the NERV fuckery isn't just a plot thing, he's exposing his secret double agent true self to her).
3+1 just shows explicitly the positive side of the message that the original series established by portraying the negative side. When we get an entire series of Shinji suffering because he doesn't understand his father and he's too afraid to try, what the fuck is the point of making a movie to show him gathering the fortitude to face and try to understand Gendo so that everything starts to go for the better?
Like, maybe if Gendo still just fucking rejects Shinji and continues golgathaing his object there could be an interesting new addition to the message. But no, Gendo goes "I guess I was wrong" and gets off the train.
It's the same with Asuka telling Shinji about her crush. Why the fuck does something that was implied through characterization in the original need to be shoved in the audience's face? Yes, a more mature Asuka would be direct about her feelings. That's exactly what the original series meant when the immature, broken Asuka was not direct with her feelings, and failed to accept them within herself too.

>The original was entirely focused on the difficulty of reaching out to affirm those bonds and the misery that results from running away in the face of that difficulty.
That’s very reductive, it was a big part of it, but it wasn’t entirely about that.

I agree with you user.

Mindbreaking subhuman shippers

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EoE really doesn't add anything to the narrative, but it is an amazing animation showcase. I'm still blown away by the cockpit shots during Asuka's fight against the MPEs where you get the sense of scale and movement for a giant mech solely through the mixture of her movements and the display of the outside on the monitors. EoE is a well-earned, single movie follow up to just let the artists go wild.
3+1's EoE segment looked terrible. The village segment was fine, although not really stunning given the industry context for how good scenery porn films look now.

Sure, fine, there were other minor themes and character arcs. Don't even try to argue that wasn't the focus of the series though with how blatant it got by directly referring to the hedgehog's dilemma, "I mustn't run away," etc. Everywhere you look in NGE, you find that focus. I mean, the psychedelic introspective finale didn't really have much to say about environmentalism or societal chaos, right? Slightly reductive, definitely not very reductive.

But the finale of NGE is only slightly about reaching out to others.
It is almost entirely focused on Shinji and his own self-loathing in which his relationship with others is mostly tangential. And Shinji runs away from responsibility as much as he does from other people. There’s a reason the mantra comes up so much in the beginning of the show before he has even started making any connections.