A giant, reptilian monster surfaces, leaving destruction in its wake as it strides into New York City. To stop it, an earthworm scientist, his reporter ex-girlfriend, and other unlikely heroes team up to save their city.
In 1933 New York, an overly ambitious movie producer coerces his cast and hired ship crew to travel to the mysterious Skull Island, where they encounter Kong, a giant ape who is immediately smitten with leading lady Ann Darrow.
Bill and Jo Harding, advanced storm chasers on the brink of divorce, must join together to create an advanced weather alert system by putting themselves in the cross-hairs of extremely violent tornadoes.
As a war between humankind and monstrous sea creatures wages on, a former pilot and a trainee are paired up to drive a seemingly obsolete special weapon in a desperate effort to save the world from the apocalypse.
Following the French atomic bomb tests in the South Pacific, an unknown creature is spotted passing eastward through the Panama Canal. Scientist Niko Tatopolous is called in to investigate the matter, and he quickly arrives at the conclusion that a giant, irradiated lizard has been created by the explosions. Godzilla then makes its way north, landing at Manhattan to begin wreaking havoc in the big city. Even with the combined forces of the U.S. military to fight the monster, will it be enough to save the people of New York?Written by
Jean-Marc Rocher <firstname.lastname@example.org>
The policeman seen during Godzilla's arrival is the same policeman (both played by same actor) seen suddenly leaving his patrol car in the middle of an intersection in Independence Day (1996). See more »
Godzilla approaches Manhattan from the open ocean, crosses the FDR Expressway, and makes first contact at the Seaport District. However the fish markets and the district sit near the East River and across from Brooklyn. Moreover, Manhattan does not directly sit on the open ocean and is surrounded on almost all sides by relatively narrow bodies of water. See more »
In 1998, Godzilla got an American make-over by "Independence Day" director Roland Emmerich and audiences haven't stopped complaining since. Rather than make the atypical Godzilla film, Emmerich and his co-conspirator Dean Devlin took the "Jurassic Park" approach and turned the mega-monster into a really, really big T-Rex and instead of using aliens, bad weather or the apocalypse as an excuse to destroy a city, decided it would be best to watch the beast all but devour Manhattan. In the rain.
The first thing that will likely hit you upon your first viewing of "Godzilla" is "well, that wasn't so bad," but then you come to the ultimate conclusion that, well, it wasn't as good as it could have been, either. Emmerich, who surely knows how to turn out an entertaining popcorn flick (often at the expense of logic and character development) puts on a good show here, with solid special effects, fun chase scenes and lots of lots of destruction. Matthew Broderick takes the lead as a scientist brought in by the military to try and tame the savage beast. For the most part, the film works, but where it really falls apart is in some of its atrocious acting (Maria Patillo, I'm looking at you) drawn-out plot and it's seemingy endless series of endings. Seriously, the movie feels like it's over once it hits the hour and fifty minute mark, but intead overstays its welcome by becoming more ridiculous by the moment and not knowing when to stop.
Perhaps a better editor could have tightened up the film and made it more enjoyable to the end. Hell, one can't imagine why Columbia Tri-Star didn't step in and take it down a notch, when most other studios are all too eager to trim big and bloated block-busters. Given the time and the patience, and with the right mindset (more specifically -- the mindset that is earned by checking your brain at the door) "Godzilla" is an overall entertaining film with its redeeming moments, but is perhaps one that could never live up to all the hype.
On a side note, the film's famous ad-campaign featured the tagline: "Size Does Matter." Well, in spite of the innuendo, the film certainly supports that theory by proving that a film too big and too long simply doesn't cut it.
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