GODZILLA (1998 film)

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Godzilla Films
Godzilla vs. Destoroyah
Godzilla 2000: Millennium
TriStar Pictures Monster Movie
The American poster for GODZILLA
Directed by Roland Emmerich
Produced by Dean Devlin,
Roland Emmerich,
Ute Emmerich,
William Fay,
Cary Woods,
Robert Fried,
Kelly Van Horn,
Peter Winther
Written by Dean Devlin,
Roland Emmerich
Music by David Arnold,
Michael Lloyd
Distributor TriStar Pictures
Rating PG-13
Budget $150,000,000[1]
Box Office $136,314,294 (U.S.)
$242,700,000 (Foreign)
$379,014,294 (Total)
Running Time 140 minutes
(2 hours, 20 minutes)
Aspect Ratio 2.35:1
Rate this film!
(78 votes)

Size Does Matter „ 

— Tagline

GODZILLA (GODZILLA,   Gojira?) is a 1998 American giant monster film produced by TriStar Pictures, and the first American Godzilla film. The film was released to American theaters on May 19, 1998, and to Japanese theaters on July 11, 1998.


Kong's Facepalm.png This article or section contains information which has been plagiarized from another source. Please edit, rewrite or add references to this article or section to fix this issue.

Following a nuclear test in French Polynesia, a marine iguana nest is exposed to the fallout of radiation.

Thirty years later, a Japanese fishing vessel is suddenly attacked by an enormous sea creature in the South Pacific ocean, with only one seaman surviving. Traumatized, he is questioned by a mysterious Frenchman in a hospital regarding what he saw, to which he only replies "Gojira."

Dr. Niko Tatopoulos, an NRC scientist, is in the Chernobyl exclusion zone in Ukraine researching the effects of radiation on wildlife, but he is interrupted by the arrival of an official from the U.S. State Department. He is sent to Panama and Jamaica, escorted by the military, to observe a trail of wreckage across land leading to the recovered Japanese fishing ship with massive claw marks on it. In Jamaica, the Frenchman is also present, observing the scene, and introduces himself as Philippe Roaché, a so-called "insurance agent."

Aboard a military aircraft, Dr. Tatopoulos identifies skin samples he discovered in the shipwreck as belonging to an unknown species. He dismisses the military's theory that the creature is a living dinosaur, instead deducing that he is a mutant created by nuclear testing.

The large reptilian creature travels to New York City leaving a path of destruction wherever it goes. The monster is lured to Flatiron Square with 20,000 pounds of fish, when the military begins attacking it. The city is evacuated as the military attempts to kill the monster, but fails in an initial attempt. Tatopoulos later collects a blood sample and learns that the creature is pregnant; it reproduces asexually and is collecting food not just for itself, but also for its offspring.

Eventually, Dr. Tatopoulos meets up with his ex-girlfriend, Audrey Timmonds, a young news reporter who wants to find a story. While she visits him, she uncovers a classified tape in his provisional military tent which concerns the origins of the monster, and turns it over to the media. She hopes to have her report put on TV in hopes to become famous, but her superior and boss, Charles Caiman, declares the tape as his own discovery. The tape is broadcast on television by the media, who dubs the creature "Godzilla." Dr. Tatopoulos is thrown off the team for his inadvertent carelessness and says goodbye to Audrey. Tatopoulos is then kidnapped by Philippe Roaché, who reveals himself to be an agent of the DGSE, the French foreign intelligence agency. He and his colleagues have been keeping close watch on the events and are planning to cover up their country's role in the creation of Godzilla. Suspecting a nest somewhere in the city, they cooperate with Dr. Tatopoulos to trace and destroy him.

Following an encounter with the military near Central Park, Godzilla dives into the Hudson River to evade the military, where he is attacked by two Ohio Class Nuclear-Powered Subs and a Los Angeles-Class Nuclear Attack Submarine. After colliding with torpedoes the subs fired at him, Godzilla sinks. Believing he is finally dead, the authorities celebrate.

Meanwhile, Dr. Tatopoulos and Roaché's team, covertly followed by Timmonds and her cameraman Victor "Animal" Palotti, make their way through underground subway tunnels to Madison Square Garden. There, they find over a hundred eggs. As they attempt to destroy them, the eggs suddenly hatch. Perceiving the human intruders as food due to the fact that they smell like fish, the hatchlings begin attacking. Dr. Tatopoulos, Palotti, Timmonds and Roaché take refuge in the stadium's broadcast booth and send a live news report to alert the military. A prompt response involving an airstrike is initiated as the four escape moments before the arena is bombed.

The adult Godzilla, however, is revealed to have survived the torpedo attack earlier underwater (it is implied that he merely faked his death), and emerges from the Garden's ruins. Discovering all of his young dead, he chases the group through the streets of Manhattan angrily. In pursuit, Godzilla eventually makes his way to the Brooklyn Bridge. Godzilla becomes trapped in the steel suspension cables, making him an easy target. After being directly hit by missiles from three F-18 Hornets, Godzilla falls to the ground and slowly dies. Roaché and the rest of the team part ways, and the people of New York celebrate.

Meanwhile, back in the smoking ruins of the Garden, a lone egg hatches.


Main article: Godzilla (1998 film)/Credits.

Staff role on the left, staff member's name on the right.

  • Directed by   Roland Emmerich
  • Written by   Dean Devlin, Roland Emmerich, Ted Elliott, Terry Rossio
  • Produced by   Dean Devlin, Roland Emmerich, Ute Emmerich, William Fay, Cary Woods, Robert Fried, Kelly Van Horn, Peter Winther
  • Music by   David Arnold, Michael Lloyd
  • Cinematography by   Ueli Steiger
  • Edited by   Peter Amundson, David Siegel
  • Production Design by   Oliver Scholl
  • Special Effects by   Patrick Tatopoulos


Actor's name on the left, character played on the right.

  • Matthew Broderick   as   Dr. Niko Tatopoulos
  • Jean Reno   as   Philippe Roaché
  • Maria Pitillo   as   Audrey Timmonds
  • Hank Azaria   as   Victor "Animal" Palotti
  • Kevin Dunn   as   Colonel Hicks
  • Michael Lerner   as   Mayor Ebert
  • Harry Shearer   as   Charles Caiman
  • Arabella Field   as   Lucy Palotti
  • Vicki Lewis   as   Dr. Elsie Chapman
  • Doug Savant   as   Sergeant O'Neal
  • Malcolm Danare   as   Dr. Mendel Craven
  • Lorry Goldman   as   Gene-Mayor's Aide
  • Christian Aubert   as   Jean-Luc
  • Philippe Bergeron   as   Jean-Claude
  • Frank Bruynbroek   as   Jean-Pierre
  • Francois Giroday   as   Jean-Philippe
  • Nicholas J. Giangiulio   as   Ed
  • Robert Lesser   as   Murray
  • Ralph Manza   as   Old Fisherman
  • Greg Callahan   as   Governor
  • Chris Ellis   as   General Anderson
  • Nancy Cartwright   as   Caiman's Secretary
  • Richard E. Gant   as   Admiral Phelps
  • Jack Moore   as   Leonard
  • Steve Giannelli   as   Jules
  • Brian Farabaugh   as   Athur
  • Stephen Xavier Lee   as   Lt. Anderson
  • Bodhi Elfman   as   Freddie
  • Rich Battista   as   Jimmy
  • Lloyd Kino   as   Japanese Tanker Cook
  • Toshi Toda   as   Japanese Tanker Captain
  • Clyde Kusatsu   as   Japanese Tanker Skipper
  • Masaya Kato   as   Japanese Tanker Crew Member
  • Glenn Morshower   as   Kyle Terrington
  • Lola Pashalinski   as   Pharmacist
  • Rob Fukuzaki   as   WIDF Co-Anchor
  • Dale Harimoto   as   WKXI Anchor
  • Gary Cruz   as   WFKK Anchor
  • Derek Webster   as   Utah Captain
  • Stuart Fratkin   as   Utah Ensign
  • Frank Cilberg   as   Utah Sailor
  • Jason Edward Jones   as   Utah Sailor
  • Roger McIntyre   as   Utah Sailor
  • David Pressman   as   Anchorage Captain
  • Robert Faltisco   as   Anchorage Ensign

Actor's name on the left, character played on the right.

  • Chris Maleki   as   Anchorage Ensign
  • Scott Lusby   as   Anchorage Ensign
  • Alex Dodd   as   Anchorage Sailor
  • Terrence Winter   as   Apache Pilot
  • Kirk Geiger   as   Apache Pilot
  • Pat Mastroianni   as   Apache Pilot
  • Eric Saiet   as   Apache Pilot
  • Burt Bulos   as   Apache Pilot
  • Robert Floyd   as   Apache Pilot
  • Seth Peterson   as   Apache Pilot
  • Jamison Yang   as   F-18 Pilot
  • Nathan Anderson   as   F-18 Pilot
  • Mark Munafo   as   F-18 Pilot
  • Dwight Schmidt   as   F-18 Pilot
  • Dwayne Swingler   as   Raven Pilot #2
  • Lawton Paseka   as   Officer
  • Greg Collins   as   Soldier on Bridge
  • James Black   as   Soldier
  • Thomas Giuseppe Giantonelli   as   Soldier
  • Paul Ware   as   Soldier
  • Monte Russell   as   Soldier on Plane
  • Christopher Carruthers   as   Radio Technician
  • Daniel Pearce   as   Radio Technician
  • Mark Fite   as   Radio Operator
  • Craig A. Castaldo   as   Radio Man
  • Eric Paskel   as   Rodgers
  • Lee Weaver   as   Homeless Guy
  • Leonard Termo   as   Homeless Guy
  • Joshua Taylor   as   Spotter
  • Al Sapienza   as   Taxi Cab Driver
  • Stoney Westmoreland   as   Tunnel Guard
  • Gary Warner   as   Gun Technician
  • Ed Wheeler   as   New York Cop
  • Bill Hoag   as   New Jersey Cop
  • Joe Badalucco, Jr.   as   Forklift Driver
  • Jonathan Dienst   as   Field Reporter
  • Benjamin V. Baird   as   Reporter
  • Madeline McFadden   as   Reporter
  • Julian M. Phillips   as   Reporter
  • Raymond Ramos   as   Reporter
  • Kurt Carley   as   Godzilla (suit)
  • Frank Welker, Gary A. Hecker   as   Godzilla (voice)



Weapons, Vehicles, and Races


Main articles: Godzilla: King of the Monsters 3-D, Godzilla (1994 film).

The idea for an American Godzilla project began in 1983 when Steve Miner proposed Godzilla: King of the Monsters 3-D to Toho. Not long after they green-lighted it, however, Miner gave up on the project for several reasons, including no company wanting to back the project up. In 1992, Sony acquired the rights to Godzilla and its subsidiary TriStar Pictures was to begin production on a film written by Ted Elliot and Terry Rossio. A teaser for this film was released in Japan in 1994. Jan De Bont was to direct the film, which was to have Godzilla fight a new monster called the Gryphon, but the project was sent to development hell after De Bont left due to budget disagreements with studio executives. TriStar then tried to get Roland Emmerich and Dean Devlin to make the film, which they turned down several times. After the two read Ted Elliot and Terry Rossio's script, however, they realized that an American version of Godzilla could be done and accepted TriStar's requests, on the condition that they could discard the original script and handle the film however they wanted.


The marketing campaign for GODZILLA was multi-pronged in its execution:

Crushed cars were dotted around London as a part of a guerrilla advertising campaign. In the month or so before its release, ads on street corners made references to "Godzilla"'s size in comparison to whatever medium of advertising the advertisement was on. Examples: "His foot is bigger than this bus," "His head is bigger than this billboard," etc. Bits and pieces of different body parts of Godzilla were shown on TV commercials and posters, but never the entire body; this was to add a bit of mystery as to the design of the creature, ideally prompting people to see the film because that was the only way to see the whole creature. However, the toy line was released before the film and spoiled everything. Taco Bell had tie-ins such as cups and toys that promoted the film. The Taco Bell chihuahua was also at the height of its popularity in Taco Bell's television commercials. During the summer of 1998, several commercials pairing Godzilla with the Taco Bell mascot were produced and aired, including several with the chihuahua trying to catch Godzilla in a tiny box, whistling and calling, "Here, lizard, lizard, lizard." When Godzilla appears, the chihuahua says, "Uh-oh. I think I need a bigger box."


Main article: Godzilla (1998 film)/Gallery.


Main articles: Godzilla (1998 film soundtrack), Godzilla (1998 film album).

Alternate Titles

  • Godzilla Attacks New York (Godzilla ataca Nova Iorque; Portuguese television title)

Theatrical Releases

View all posters for the film here.

Box Office

GODZILLA's budget was $125 million in both production and advertising costs. Financially, the film did well in its initial release with a gross of $55 million, but poor word of mouth from both fans and critics caused the film's profits to drop 40% after the first week. Domestically, it made $136,314,294 and drew in another $242 million overseas, totaling $379,014,294 worldwide. Contrary to popular belief, GODZILLA wasn't a flop, but it was not the blockbuster the studio was looking for. Sony's contract with Toho stated that Sony had the option to produce a trilogy of American Godzilla films so long as the first sequel was released within five years after the first film. Sony green-lit a sequel shortly after the film's release, while an animated series made as a continuation of the film began to air later in 1998. During that time TriStar released Toho's Godzilla 2000: Millennium in U.S. theaters. Because of the poor reception of the film, a lack of retailer interest, and the underwhelming financial performance of the first film, Sony ultimately decided not to make another Godzilla film and their license to the Godzilla franchise expired May of 2003.


The history of the 1998 film and its monster has been a rather mixed and negative one. The initial reaction to the 1998 release was mostly a negative one spanning from both movie critics and the Godzilla fanbase alike. Critically it was blasted for uninspired acting, random plots that don't fit, unnecessary use of rain, inconsistent size of the monster, shoddy special effects (even for its time period), and the constant themes and actual scenes it was accused of ripping off from Jurassic Park. TriStar's GODZILLA was accused of heavily borrowing concepts such as the asexual development of eggs. Multiple scenes had the main characters running for their lives from the baby Godzillas which look much like the velociraptors in Jurassic Park, although the directors insisted this was not intended.

There were scenes that were virtually frame-by-frame the same as Jurassic Park, like the velociraptor shadow scene, jump attack sequence or the door opening sequence. At the end of the film when Godzilla was killed by the F-18 Hornets, audiences were confused as to whether or not they should have felt sorry for the creature or cheer much like the New York citizens and military celebrated to Godzilla's demise, whereas in the original film audiences were meant to feel sympathy for both Godzilla and the martyr who gave up his life to destroy him. The Godzilla fanbase criticized the film for lacking Godzilla's theme, personality, and key characteristics.

The monster's design was criticized as being more like the Rhedosaurus from The Beast from 20,000 Fathoms as opposed to the real Godzilla's traditional design. The origin of the monster was also changed from being a mutant fictional prehistoric reptile to a marine iguana mutated by nuclear fallout from a French nuclear test.

The most heavy criticism, though, came from the creature's lack of similarities and personality to the original monster. The monster lacked Godzilla's trademark atomic breath, as well as his strength and durability, testified by his easy destruction at the end by the F-18s at the Brooklyn Bridge. Dean Devlin tacked in a last-minute power breath even though he had no plans on adding any powers whatsoever. Whereas Godzilla was previously always depicted as a male creature and given the title "King of the Monsters," TriStar's Godzilla reproduced asexually and laid eggs. For these reasons, fans refused to equal the two monsters and differentiated by giving the creature nicknames such as "Notzilla," "Trizilla," "Deanzilla" or "Patzilla," because of its creators, Dean Devlin and Patrick Tatopoulos, and "G.I.N.O.", an acronym for "Godzilla In Name Only." Ryuhei Kitamura, the director of Godzilla: Final Wars, as well as Shogo Tomiyama, the man in charge of the Godzilla franchise at that time, finally responded by including the TriStar Godzilla in the film as a separate character named "Zilla," accusing TriStar of taking the "God" out of "Godzilla."[2]

Toho in particular later criticized the film for straying from Godzilla's image and "taking the 'God' out of 'Godzilla'"[2] in addition to mandating that all future incarnations of the 1998 creature be called Zilla, they produced the film Godzilla 2000: Millennium as a direct response, in an attempt to return the traditional Japanese Godzilla to the big screen.

GODZILLA received two Golden Raspberry awards in 1998: Worst Remake or Sequel and Worst Supporting Actress (Maria Pitillo). The film later received the Saturn Award for Best Special Effects in 1999.


Main articles: Godzilla: The Series, Godzilla 2 (Unmade 1998 film sequel).

The film spawned an animated series which continued the storyline of the movie. In this series, Nick Tatapolous accidentally discovers the egg that survived the destruction of the first Godzilla's nest in Madison Square Garden. The creature hatches and imprints on Nick as its parent. Subsequently, Nick and a group of friends form an elite research team called H.E.A.T., investigating strange occurrences and defending humankind from numerous other monsters with the help of the new Godzilla. Unlike the film upon which it was based, the animated series garnered a relatively positive reception from Godzilla fans, due to returning some of the Japanese Godzilla's characteristics to the titular monster and featuring plots similar in nature to many of the late Showa era Godzilla films.

A novelization was released for the film, written as a retrospective by Nick Tatopolous. Nick always refers to the monster as "Gojira" in the text.

A sequel to the film was planned and received an entire screenplay written by Tab Murphy, and would have involved the monster that hatched at the end of the film battling a giant insect called the Queen Bitch. However these plans for a sequel were ultimately scrapped when Sony and Roland Emmerich could not agree on a budget, and Emmerich went on to make The Patriot instead. Sony later considered producing a new reboot to the series unrelated to the 1998 film, but decided against it and allowed their rights to revert to Toho in May of 2003.

Video Releases

TriStar Pictures DVD (1998)

  • Region: 1
  • Discs: 1
  • Audio: English (2.0 Stereo, 5.1 Surround)
  • Subtitles: English
  • Special Features: Audio commentary by Volker Engel, Karen Goulekas, and Patrick Tatopoulos, "Heroes" music video, photo gallery, cast and crew bios, trailers, two behind-the-scenes featurettes

Toho DVD (2000)

  • Region: 2
  • Audio: Japanese

Sony DVD (2006)

  • Region: 1
  • Discs: 1
  • Audio: English (Dolby Digital 5.1), French (Dolby Digital 2.0 Surround)
  • Subtitles: English, French
  • Special Features: Audio commentary by Volker Engel, Karen Goulekas, and Patrick Tatopoulos, "Heroes" music video, photo gallery, two behind-the-scenes featurettes, “All-Time Best of Godzilla Fights Scenes” featurette (10 minutes), three episodes of Godzilla: The Series (What Dreams May Come, Where is Thy Sting?, and Monster Wars: Part 1)

Sony Blu-ray (2009)

  • Region: N/A
  • Discs: 1
  • Audio: English (DTS-HD Master Audio 5.1), French (DTS-HD Master Audio 5.1), Spanish (DTS-HD Master Audio 5.1), Portugese (DTS-HD Master Audio 5.1)
  • Subtitles: English, French, Spanish, Portuguese
  • Special Features: Audio commentary by Volker Engel, Karen Goulekas, and Patrick Tatopoulos, "Heroes" music video, photo gallery, trivia game, behind-the-scenes featurettes (7 minutes), “All-Time Best of Godzilla Fights Scenes” featurette (10 minutes), MovieIQ offering information as the film plays
  • Notes: A version mastered in 4K was released in 2013.


Main article: Godzilla (1998 film)/Videos.


  • In the film the characters of the mayor and his adviser are clearly caricatures of Roger Ebert and Gene Siskel. Reportedly, the less-than-flattering portrayal was because both had given negative reviews of Dean Devlin and Roland Emmerich's earlier film, Stargate. When the actual Siskel and Ebert reviewed Emmerich's GODZILLA on their show, it received two thumbs down and Siskel commented on being spoofed in the film, saying it was "petty." Ebert's own print review declared that he considered Emmerich "let us off lightly; I fully expected to be squished like a bug by Godzilla."[3]
  • The music that plays on an elevator in a scene with Matthew Broderick is "Danke Schoen," which Broderick lip-synchs in a memorable scene from Ferris Bueller's Day Off.
  • Matthew Broderick's character's last name is "Tatopoulos" which is a reference to Godzilla's designer and supervisor, Patrick Tatopoulos.
  • The film is dedicated to Tomoyuki Tanaka, who produced all of the original Godzilla movies until 1995 and died only a month before this film began production.
  • Three voice actors from the comedy series The Simpsons appear in the film: Harry Shearer, Nancy Cartwright and Hank Azaria.
  • The film was spoofed in the stop-motion show Robot Chicken from Cartoon Network's Adult Swim. In the segment, producers Dean Devlin and Roland Emmerich are given a chance to make a sequel, or rather a "remake of a remake"; they use the money to have the baby Godzillas perform an ice skating number in a rink. Later, they congratulate themselves on making "another giant piece of crap."
  • An earlier script for an American Godzilla film was written by Terry Rossio and Ted Eliott and was going to be directed by Jan De Bont. A teaser trailer for this was made in Japan in 1994, but due to budget differences the script was dropped and Roland Emmerich was brought in. In the end, the original 1994 script's estimated budget which caused it to be dropped was a couple of million dollars under this film's budget.
  • The negative reception to this movie completely altered Toho's then-current plans for the Godzilla series. Originally, the trilogy of films at the conclusion of the Heisei era was created to avoid competition with TriStar's then-upcoming film. During Toho's planned decade-long hiatus, TriStar was to produce a trilogy of American Godzilla films, then Toho would resume production of Godzilla films in 2005. After TriStar's take received massive fan backlash, Toho took the opportunity to return the Japanese Godzilla to the big screen early by producing Godzilla 2000: Millennium. Ironically, production of Godzilla: Final Wars finished in 2004, a year before the series' hiatus was originally going to finish.
  • In late summer of 2014, the 1998 film was mocked by RiffTrax Live, which was created by and shares many of the former members of Mystery Science Theater 3000.
  • Another American-made Godzilla film was produced by Legendary Pictures in 2014. Unlike the 1998 film, Legendary's Godzilla was generally well-received by fans and critics alike, and was considered to be a much more faithful adaptation of the character. A sequel for the film was green-lit, along with a crossover film with King Kong in 2020.
  • This was the first Godzilla film to use the Super 35 cinematographic process for its shooting.
  • In an interview with Starlog, Dean Devlin mentioned that in several earlier drafts of the 1998 film, Godzilla was to have been created by aliens rather than nuclear testing. Devlin said that the filmmakers stuck with Godzilla's traditional nuclear origin because it was something they "felt strongly about not abandoning" and that they thought "it was too important to what Godzilla is all about."[4]

External Links


This is a list of references for Godzilla (1998 film). These citations are used to identify the reliable sources on which this article is based. These references appear inside articles in the form of superscript numbers, which look like this: [1]

Era Icon - Toho.png
Era Icon - Heisei.png
Godzilla (TriStar)
Baby Godzilla (TriStar)
Godzilla (Godzilla: The Series)


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2 months ago
Score 0
Of the two American Godzilla movies we have now, the newer one is obviously better. However, you've got to give Godzilla 1998 credit where its due. Unlike Godzilla 2014 where the monsters were completely CGI (someone please correct me if I'm wrong), this movie actually has some model effects, utilizes animatronics and the monster itself is actually portrayed by a suit in one or two scenes. The design of Godzilla himself is also pretty cool but it would obviously be better suited to another monster, hence why I'm happy that Toho decided to reuse the design for Zilla and make him his own individual character. The animated series was also pretty enjoyable and he even had an atomic beam in that series.


2 months ago
Score 0
I remember going to see this is theaters. While watching the film, I remember one thought going through my head: THAT'S supposed to be Godzilla?!


6 months ago
Score 0
It seems that most of the people who hate on this movie nowadays are the stupid children who are just jumping on the bandwagon and either haven't seen it or weren't even alive when it came out.


6 months ago
Score 0
It's just like those children who downrate Kong:Skull island just to make Logan more popular.


6 months ago
Score 0
I know people hate this movie because the design is not up to Godzilla standards,but at least it got more screen time than G14


6 months ago
Score 0
More screen time doesn't immediately equal a better movie.

The King of the Monsters

6 months ago
Score 0
The monster only has a couple more minutes of screentime in this film, and this movie is almost 20 minutes longer than the 2014 film, so they average out to about the same percentage of screentime.


7 months ago
Score 2
I liked this movie


7 months ago
Score 0
I know that this is the most hated Godzilla movie ever an dsome fans say that this movie shouldn't exist, well this is literally the reason why we got the Millenium era. Godzilla vs. Destoroyah was going to be the last Godzilla movie.

Astounding Beyond Belief

7 months ago
Score 1

Toho only ended the Heisei series to avoid competing with their own American adaptation; see http://www.s...film-part-1/

If G98 accomplished anything worthwhile for the franchise, it was the huge number of Japanese Godzilla books/toys/videos released in the U.S. as indirect tie-ins.

Toa Hydros

11 months ago
Score 0

My Thoughts: Godzilla 1998

I know it's become almost mandatory for Godzilla fans to hate this movie, but I've never been able to do that... not completely, anyway. Maybe it's because I was young when this came out, and I didn't see it as the hardcore fan I am now, but as a kid who loved monster movies. That being said, it's likely I'll always have a soft spot for this flick, though I can still understand why fans were disappointed with it.

The human characters aren't anything special, pretty much your typical 90's sci-if idiots. None of them really do much to warrant much attention with the exception of Philippe, the French secret agent, who I will admit is pretty badass. Hank Azaria's character can also be funny every now and then, I suppose.

As far as redesigns go, "Godzilla's" new look just strayed WAY too far; it just doesn't work for Godzilla. It'd be like make a new Batman costume without its traditional pointy ears, cape and symbol, rendering the character completely unrecognizable. This extends to Zilla's lack of the true Godzilla's abilities; atomic breath, invulnerability, ect. And let's not forget the asexual reproduction thing. Just where did THAT concept come from? Who in the production team decided that Godzilla needed to lay eggs? It would be like making a Superman movie and just having him spontaneously start growing tentacles out of his ears; it just comes out of left field.

Believe it or not, though, there are some good things about this film: despite some less-than-spectacular CGI, there is some pretty impressive model work sprinkled throughout the movie, the action scenes (while conflicting with the true Godzilla's nature) are still a lot of fun to watch, and as I said above, a few of the human characters encourage the odd smile. Also, Zilla's design is actually pretty cool; if it weren't for the filmmakers trying to pawn it off as Godzilla, it might've caught on as an iconic monster in its own right.

In the end, you have to go into this movie with a certain mindset: if you watch it as a serious Godzilla fan, it's almost guaranteed you'll hate it. If you go into it just to see a giant monster film that doesn't take itself seriously, you'll find it to be entertaining in its own right. It's a stupid movie, but in certain ways, it's just the right kind of stupid.


11 months ago
Score 0
That's a lot of fishy marketing.