Dinosaurier in New York

Dinosaurier in New York ist ein überwältigender und todernst gemeinter Monster-Film. Seine Unterhaltsamkeit funktioniert aber nicht so richtig. Die Bemühung um ein halbdokumentarisches Konzept ist mit einem Abstand zu den Figuren verbunden. Das hat mich eigentlich nicht gestört, weil der Hauptheld das prähistorische Monster ist und nicht die Wissenschaftler, die Detektive oder die Journalisten. Paradoxerweise gibt es jedoch in dem Film wenige Szenen, in denen man das Monster mit hochwertigen visuellen Effekten genießen kann. In den 50er Jahren hätte ich diesen Film bestimmt genossen. Heutzutage, in der Zeit von Jurassic Park, ist es ein zu geschwätziger und langweiliger Streifen, dessen Autoren einen Hollywood-Blockbuster drehen wollten. Die banalen Szenen, in denen das Monster durch die Straßen von New York schreitet, sind nicht mehr der Publikum-Höhepunkt wie damals. Und das Finale im Vergnügungspark hätte auch einfallsreicher und umfangreicher sein können. (20.11.2002)

Der Film ist leider eher langweilig. Eigentlich hat er nur zwei interessante Aspekte – die stimmungsvollen arktischen Minuten am Anfang und dann die fantastischen Tricks von Ray Harryhausen. Der Angriff des Dinosauriers auf die Stadt diente offensichtlich als Inspiration für Emmerichs Godzilla. Es handelt sich um die beste Szene aus dem ganzen Film. Das Finale im Vergnügungspark ist so ernst gemeint und so gewöhnlich aufgenommen, dass es lächerlich wirkt. Die kleine Rolle von Lee Van Cleef, welcher das riesige Filmmonster mit einer radioaktiven Granate niedergeschlagen hat, hat mich amüsiert. Zwei Jahre später hat sein Spaghettiwestern-Kollege Clint Eastwood im Düsenflugzeug die riesige Tarantel in die Hölle geschickt. (28.09.2017)

"The Beast from 20,000 Fathoms" is a film quite appropriate for its time period and at first glance, it might seem like it doesn't stand out in any way. The story is indeed quite clichéd, as are many other elements - the army, scientists, a strange sci-fi/scientific plot, the destruction of a large city - but for me, any film animated by Ray Harryhausen is exceptional. This applies to this one as well, where it is evident that it gains something extra through the animation. The interaction between the people and the puppet, and especially the environment, is sometimes unbelievable, although it is true that Ray has more elaborate works in his filmography. Here, a slight lack of funds and perhaps time can be seen. (05.01.2014)

It gets off to a promising start, and the film's conversational first half sets up the expected destruction of New York City, but poor directorial invention and a build-up that is duller than a fight at a Kaufland checkout counter drag it into the mire of mediocrity during the monster's promenade through Times Square. But the execution of most of the scenes with the giant monster is certainly praiseworthy; they do not look ridiculous even today, and it’s all the more disappointing that they did not receive a more skilful director, as, for example, Jurassic Park would do forty years later. (03.12.2017)

In King Kong vs. Godzilla the Japanese brought Godzilla back to life after a submarine crashes into an iceberg, here the Americans let a certain "Rhedosaurus" come back to life as a result of a nuclear test somewhere near the North Pole. The introduction from the Arctic is suspenseful, believably presented, the cold does get under your skin. Then comes the classic monster movie formula and the typical characters: an know-it-all professor, his beautiful assistant, preferably with a doctorate, a handsome protagonist who saves the world, and an army that doesn't know how to deal with the monster and basically serves as scrub. And most importantly, the Rhedosaurus, who, as expected, takes it out on New York (poor New Yorkers, they always have to take the hit). The model of the monster is a classic Harryhausen, who didn’t change his signature at all since his debut to Clash of the Titans. As far as visual effects go, it's safe to say that for fans Harryhausen, this is a must-see, though the quality of the effects is very inconsistent. The mini-submarine diving to the bottom of the ocean where the monster temporarily resides is quite funny. The combination of models with documentary footage of a fight between a shark and a sepia looks really weird. The sinking of the fishing boat is crap, even for its time. The monster's rampage through New York alternates between brilliant moments and those in which the rear projection is very noticeable and the models are blatant. And you don't get to enjoy the monster much before the weird, quick ending. There’s no build-up and no fear from the protagonist. It’s a shame. (18.04.2004)