Godzilla (1998)

reviewed by
Chad Polenz


Godzilla

Chad'z rating: **1/2 (out of 4 = okay/average)

1998, PG-13, 138 minutes [2 hours, 18 minutes]

[thriller/science fiction]

Starring: Matthew Broderick (Nick Tatopoulos), Jean Reno (Philippe Roche) Hank Azaria (Victor "Animal" Palotti), Maria Pitillo (Audrey Timmonds); written by Dean Devlin, Roland Emmerich, produced by Dean Devlin, directed by Roland Emmerich, based on a character created by Toho Co. Ltd.

Seen May 20, 1998 at 7:15 p.m. at Rotterdam Square Mall Cinemas (Rotterdam, NY), theater #5, with my brother John for free using my Loews/Sony critic's pass. [Theater rating: ***: very good picture and sound, average seats]

For most filmmakers the task of turning aged and simple concepts into something original would prove difficult. However, the creative team of writer/director Roland Emmerich and writer/producer Dean Devlin are not discouraged by such obstacles as they have made some rather successful films because of their attitude. Even with "Godzilla," a complete Hollywood movie machine, they at least show a sense of craftsmanship. But craft in the midst of limitation doesn't make up for lack of idea and form.

Considering the film's premise it comes as no surprise that little attention is paid to detail and plausibility, and this unapologetic notion is clear from the first frame. The opening scene depicts a Japanese fishing boat being attacked by a mysterious creature, which serves no purpose other than to add a bit of superstition when the lone survivor believes it was a mythological figure come to life.

For every superstition there's a "logical" explanation which is provided through our "main" character (the character with the most screen time, that is) Nick Tatopoulos (Broderick), a young American scientist who has been studying the effects of nuclear radiation on nature. He's the closest-there- is-to-an-expert the military tend to call in to investigate wacky situations in films such as this. After seeing damage done by the huge, unseen creature in the French Polynesian islands, he theorizes, with total logic, that it must be a mutation caused by all the nuclear testing done there many years ago.

It's clear the film doesn't want to waste time on reality and thus the attempt to establish plausability (the most minimal amount necessary) comes across as a half-assed effort. Supporting characters and shady sup-plots are introduced, but as is the case with films made up of a large cast of characters, only a handful have any real significance. Here, the characters of the sort include Nick's ex-girlfriend Audrey Timmonds (Pitillo), a meek research journalist who hopes to one day be a real reporter like her arrogant boss (played by Harry Shearer in full cartoon form). Also lending support is Audrey's friend, cameraman Victor "Animal" Palotti (Azaria), who functions mostly as comic relief. Then there's the mysterious Philippe Roche (Reno), a secret service agent for France who will take things into his own hands when need be. The way the characters are eventually thrown together is typical, and for the most part it works since the film doesn't concentrate too hard on detail.

This is a summer blockbuster movie and it exists for action and special effects, not wholesome storytelling. The first act works as quickly as possible to plug in the characters, plot devices, sub-plots, and general details. It doesn't take long for Godzilla to emerge in full form and reign terror on New York City. Surprisingly, the initial sense of panic and hysteria is quite exciting due mostly to the effects and the fast direction. It's eye candy all right and it's certainly tempting, but the taste doesn't last long enough.

Even though action often overwhelms the story, there is still an effort on behalf of the screenplay to give the film some intelligence. Many sub-plots crop up involving the characters and how they relate to defeating Godzilla and an entirely separate plot involving a possible nest which no one but the characters believe exists. The individual plot pieces do have a sense of organization, but it is the scenes themselves that do not. The dialogue exists mostly for the characters to have something to say when they're not running for their lives. Other flaws crop up which are totally inexcusable since alternative means of telling and pacing the story are easily available. Are we supposed to believe the military would get rid of Nick because one of his top secret videos was leaked to the press? Then again, the way it is leaked is an equally poor plot device, and the follow-up resolutions are predictable and cheesy too.

There's a fine line separating homage from plagiarism which serves as a tightrope to some filmmakers and a sidewalk to others. For some reason Roland and Devlin feel the need to walk this line with every film they make even though they often trip themselves up (with the exception of "Independence Day"). For example, there are many scenes reminiscent of the "Star Wars" films, such as those in which helicopters fly through the narrow spaces between the skyscrapers while at the same time trying to fight Godzilla. Also, the constant rain and darkness might be an attempt at Gothic design a la "Blade Runner" or "The Crow," but it doesn't nearly evoke the moody atmosphere. And if you've seen either of the "Jurassic Park" films, then you've seen the entire last act of this one.

There's only so many ways big-budget disaster movies can be made, and everyone seems to take this notion for granted. "Godzilla" certainly is made up of the right pieces in the right places, but that's where the problem lies - there's not much of a hook to it.


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(C) 1998 Chad Polenz
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