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.
The crypto-zoological agency Monarch faces off against a battery of god-sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah.
Millie Bobby Brown
Jack Hall, paleoclimatologist, must make a daring trek from Washington, D.C. to New York City to reach his son, trapped in the cross-hairs of a sudden international storm which plunges the planet into a new Ice Age.
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.
In the wake of extensive nuclear testing in the South Pacific Ocean, the low-profile scientist, Niko Tatopoulos, is summoned by the U.S. Army to shed light on the mysterious attack on a fishing ship, and the ominous sightings of a gargantuan sea-dragon. Before long, a mutated scaly nightmare in the shape of Godzilla--a massive and all-powerful radioactive sauroid--threatens to level the rain-soaked New York City, against the backdrop of a crippling bureaucracy and the military's futile attempts to stop the invincible beast from the ocean. Now, it's up to Niko; the cryptic insurance agent, Philippe; the determined reporter, Audrey, and her brave cameraman, Victor, to put an end to Godzilla's reign of terror before it's too late. Is there a reason why Godzilla has chosen Manhattan for its den?Written by
(at around 1h 24 mins) The officers aboard one of the submarines wear caps reading "USS Utah SSBN 745". "SSBN" refers to ballistic missile submarines, which are large, heavy and slow, therefore unsuitable for pursuit tasks. A fast attack submarine (SSN) would make more sense. 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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