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Editorial Reviews
Amazon.com
As "gigantic monster reptile attacks New York" movies go, you've got to admit that Godzilla delivers the goods, although its critical drubbing and box-office disappointment were arguably deserved. It's a shameless, uninspired crowd pleaser that's content to serve up familiar action with the advantage of really fantastic special effects, and if you expect nothing more you'll be one among millions of satisfied customers. There's really no other way to approach it--you just have to accept the fact that Independence Day creators Roland Emmerich and Dean Devlin are unapologetic plagiarists, incapable of anything more than mindless spectacle that can play in any cinema in the world without dubbing or subtitles. The whole movie plays out like a series of highlights stolen from previous blockbusters of the 1990s; it's little more than a rehash of the Jurassic Park movies. The derivative script is so trivial that it's unworthy of comment, apart from a few choice laughs and the casting of Michael Lerner as New York's mayor, whose name is Ebert and who closely resembles a certain well-known movie critic. Perhaps that's a clever hint that this movie's essentially critic-proof. It's stupid but it's fun, and for most audiences that's a fitting definition of mainstream Hollywood entertainment. --Jeff Shannon
From The New Yorker
The star of those tacky old Japanese horror films now gets a tacky new Hollywood horror film all to himself. Brought into being by irresponsible nuclear tests in French Polynesia, Godzilla heads for New York in search of a really first-rate fish restaurant. In his haste and fury the monster destroys a large proportion of the city's leading tourist sites; having totalled the White House in his previous picture, "Independence Day," director Roland Emmerich can hardly contain his childish desire to blow stuff up. The movie is of minimum interest; the story of the movie, however-or, rather, of the way in which it has been engulfed by its own publicity-is bound to fascinate connoisseurs of cultural meltdown. (When Godzilla tramples on New York, he takes his cue from Columbia TriStar's marketing campaign.) All that stands in the monster's way is the combined bravado of Nick (Matthew Broderick), a research scientist, and Phillippe (Jean Reno), an entirely cool human being. Not even Roland Emmerich can keep the hangdog spirit of Reno on a leash. See the movie with a thousand friends, scream and shout, and then forget it. -Anthony Lane
Copyright © 2006 The New Yorker
As "gigantic monster reptile attacks New York" movies go, you've got to admit that Godzilla delivers the goods, although its critical drubbing and box-office disappointment were arguably deserved. It's a shameless, uninspired crowd pleaser that's content to serve up familiar action with the advantage of really fantastic special effects, and if you expect nothing more you'll be one among millions of satisfied customers. There's really no other way to approach it--you just have to accept the fact that Independence Day creators Roland Emmerich and Dean Devlin are unapologetic plagiarists, incapable of anything more than mindless spectacle that can play in any cinema in the world without dubbing or subtitles. The whole movie plays out like a series of highlights stolen from previous blockbusters of the 1990s; it's little more than a rehash of the Jurassic Park movies. The derivative script is so trivial that it's unworthy of comment, apart from a few choice laughs and the casting of Michael Lerner as New York's mayor, whose name is Ebert and who closely resembles a certain well-known movie critic. Perhaps that's a clever hint that this movie's essentially critic-proof. It's stupid but it's fun, and for most audiences that's a fitting definition of mainstream Hollywood entertainment. --Jeff Shannon
From The New Yorker
The star of those tacky old Japanese horror films now gets a tacky new Hollywood horror film all to himself. Brought into being by irresponsible nuclear tests in French Polynesia, Godzilla heads for New York in search of a really first-rate fish restaurant. In his haste and fury the monster destroys a large proportion of the city's leading tourist sites; having totalled the White House in his previous picture, "Independence Day," director Roland Emmerich can hardly contain his childish desire to blow stuff up. The movie is of minimum interest; the story of the movie, however-or, rather, of the way in which it has been engulfed by its own publicity-is bound to fascinate connoisseurs of cultural meltdown. (When Godzilla tramples on New York, he takes his cue from Columbia TriStar's marketing campaign.) All that stands in the monster's way is the combined bravado of Nick (Matthew Broderick), a research scientist, and Phillippe (Jean Reno), an entirely cool human being. Not even Roland Emmerich can keep the hangdog spirit of Reno on a leash. See the movie with a thousand friends, scream and shout, and then forget it. -Anthony Lane
Copyright © 2006 The New Yorker
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