# Godzilla (1998)

### reviewed by
Jamie Peck

GODZILLA Reviewed by Jamie Peck

Rating: **1/2 (out of ****) TriStar / 2:19 / 1998 / PG-13 (language, violence) Cast: Matthew Broderick; Jean Reno; Maria Pitillo; Hank Azaria; Kevin Dunn; Michael Lerner; Harry Shearer; Arabella Field; Vicki Lewis; Doug Savant Director: Roland Emmerich Screenplay: Dean Devlin; Roland Emmerich

As movies featuring gigantic lizards go, "Godzilla" is no "Jurassic Park." Heck, it's not even "The Lost World," although this tale of an atomic iguana loose in New York City is going to seem to some like a very extended version of "World"'s dinosaur-in-San Diego capper, only on a much larger scale as far as the monster and demolition are concerned. Despite its inescapable "Size Does Matter" promotional campaign, "Godzilla" proves that bigger isn't always better. Cool-looking creatures in all of their computer-generated glory really can be overshadowed when you're missing the best special effect of all -- a strong screenplay with interesting characters. But, although "Godzilla" is a pretty flat summer movie in the end, it's at least a moderately entertaining one that courts success more often than disaster.

"Godzilla"'s creative team is that of director/co-writer Roland Emmerich and producer/co-writer Dean Devlin, the duo who gave us "Independence Day" only two years ago. I was in the small clique of those who did not appreciate that film (I hated it, actually), having felt that its every aspect was blatantly forced -- a cardboard cast of stereotyped personalities use a jingoistic tone to cover up a story that refuses to admit how infuriatingly silly it is. "Godzilla," while oh so very far from being a good movie, is much more grounded than "ID4"; it only momentarily masquerades as something it isn't. Sure, both films offer ineffective, one-dimensional characterization (though, judging from "Godzilla"'s press notes, the filmmakers would argue otherwise), but mostly gone here is the clunky, laughable human drama and conflict that, for me, sank "ID4" to a surprising low.

A plot summary is largely superfluous, but I shall proceed for those few of you who want to know what kind of narrative thrust this baby has. Matthew Broderick plays Nick Tatopoulos, a biological scientist studying the nuclear radiation-induced mutations of creatures great and small, the latter being earthworms and the former a mysterious creature that's swimming from Polynesia to the United States, and leaving all kinds of havoc in its wake. This entity, of course, turns out to be the titular behemoth, and Nick is hot on its trail when it decides to crash -- literally and figuratively -- in the Big Apple. The military, having never before faced such a deadly adversary, isn't very helpful. Complicating matters further is the presence of Nick's ex-flame, plucky local TV journalist Audrey (Maria Pitillo), but the last thing a movie like this needs is a rekindled-romance subplot.

To be fair, however, the Nick-Audrey relationship is no less silly than the Jeff Goldblum-Margaret Colin one in "Independence Day"; "Godzilla"'s "love story" is less a glaring flaw than a minor distraction. So, instead of copying its predecessor's flaws to a T, it invents some new ones. Devlin and Emmerich play down the malevolence and up the sympathy in "Godzilla," so much to the point where one really wonders if the king of all monsters can truly be called an antagonist. Gone is the sense of deliberate, careless destruction that characterize this movie's Japanese ancestors; by "humanizing" the beast, we're torn when it comes time to root for somebody -- or against something. Also sorely missed is the sense of fascination, wonder and pseudo-credibility that Steven Spielberg used to distinguish his "Jurassic Park," a film that "Godzilla" will be inevitably compared to, from just another ride.

Yet some strong key assets keep "Godzilla" far from being a total downer. The special effects (the unarguable reason that this film was made) are fantastic, and the movie's look -- especially in the helicopter chase scenes -- often works on a Tim Burton-level of dazzle. Some of Emmerich's action sequences, like the climactic cab ride, offer sudden, genuine bursts of excitement. "Godzilla" even has a notable sense of humor (mostly courtesy of comic co-star Hank Azaria), save for one running joke that's funny at first but gets old fast. The gag in question pokes fun at film critic deities Gene Siskel and Roger Ebert, allegedly because Devlin and Emmerich are not too happy about the negative write-ups they gave "StarGate" and "ID4." The best way to get revenge against reviewers for disliking your previous movies isn't to gibe them in your current work, guys -- it's to make sure that current work is a great film.

© 1998 Jamie Peck E-mail: jpeck1@gl.umbc.edu Visit the New and Improved Reel Deal Online: http://www.gl.umbc.edu/~jpeck1/ "Suggestions, please, for the fourth movie in the series. How about 'Look Who's Talking Back,' in which the audience gets its turn?" -- Roger Ebert on "Look Who's Talking Now"

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