John McClane, officer of the NYPD, tries to save his wife Holly Gennaro and several others that were taken hostage by German terrorist Hans Gruber during a Christmas party at the Nakatomi Plaza in Los Angeles.
When Dr. Henry Jones, Sr. suddenly goes missing while pursuing the Holy Grail, eminent archaeologist Dr. Henry "Indiana" Jones, Jr. must follow in his father's footsteps to stop the Nazis from getting their hands on the Holy Grail first.
A seemingly indestructible humanoid cyborg is sent from 2029 to 1984 to assassinate a waitress, whose unborn son will lead humanity in a war against the machines, while a soldier from that war is sent to protect her at all costs.
After a daring mission to rescue Han Solo from Jabba the Hutt, the rebels dispatch to Endor to destroy a more powerful Death Star. Meanwhile, Luke struggles to help Vader back from the dark side without falling into the Emperor's trap.
After a space merchant vessel perceives an unknown transmission as a distress call, its landing on the source moon finds one of the crew attacked by a mysterious lifeform, and they soon realize that its life cycle has merely begun.
NYPD cop John McClane goes on a Christmas vacation to visit his wife Holly in Los Angeles where she works for the Nakatomi Corporation. While they are at the Nakatomi headquarters for a Christmas party, a group of bank robbers led by Hans Gruber take control of the building and hold everyone hostage, with the exception of John, while they plan to perform a lucrative heist. Unable to escape and with no immediate police response, John is forced to take matters into his own hands. Written by
At the suggestion of director John McTiernan, Ludwig van Beethoven's Ode to Joy (Ninth Symphony, Fourth Movement) is the musical theme of the terrorists. Hans Gruber, the terrorist leader, even hums it at one point in the movie (while he is on the elevator with Mr. Takagi). Film composer Michael Kamen at first thought it was a "sacrilege" to use Beethoven in an action movie, telling McTiernan: "I will make mincemeat out of Wagner or Strauss for you, but why Beethoven?" McTiernan replied that Ode to Joy had been the theme of the ultra-violence in Stanley Kubrick's A Clockwork Orange (1971). Kamen, a Kubrick fan, then agreed. See more »
Channel 9 (CB distress channel) is monitored by Radio Emergency Associated Communications Teams (REACT), not the police department. If someone were calling for help on Channel 9, they would talk to a REACT operator, who would then call the authorities. Either way, it would not be an FCC violation. See more »
You don't like flying, do you?
What gives you that idea?
You wanna know the secret to surviving air travel? After you get where you're going, take off your shoes and your socks then walk around on the rug bare foot and make fists with your toes.
Fists with your toes?
I know, I know, it sounds crazy. Trust me, I've been doing it for nine years. Yes sir, better than a shower and a hot cup of coffee.
[the businessman sees John's gun]
It's okay, I'm a cop. Trust me, I've been ...
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In the widescreen version, the 20th Century Fox logo is stretched. See more »
The ultimate thrill-ride and still the standard by which I judge an action movie
Seeing 'Die Hard' for the first time as a teenager was a one-of-a-kind experience. This level of raw, "edge-of-your-seat" action was unknown to me prior to this film; it made my head spin and the intensity of it was nearly unbearable. When it was over, I could only think of one word: Wow!
For a long time - at least in western cinema - the only "true" action movies (by that I mean films that were all about the action and you went to see them because of the action) were the 'James Bond' movies. They had the most unreal stunts and crazy, over the top action sequences that you could imagine at the time, and they were (and still are) great fun. However, they usually lacked three vital ingredients:
1. A sense of realism (meaning: the hero is only human and can get hurt)
2. Grit (messy, unpolished action, dirty people and LOTS of swearing)
3. R-rated violence (showing the audience what real weapons do to the human body)
Well, it took John McTiernan to bring those three key elements together in 'Die Hard' - and thus the modern action film was born (it had a good run through the late eighties until the end of the nineties then the studios figured out they could maximise the box-office by taming down the swearing, violence and sex and thus, alas, the contemporary, toothless PG-13 action film was born). Sure, there have been a couple of others before McTiernan's masterpiece ('First Blood', 'Terminator', 'Predator' - which was also by McTiernan - or 'Lethal Weapon' and probably some more), but those films could have fallen into any number of other categories as well ('Adventure-/Survival-/War-', 'Sci- Fi', 'Horror-' or 'Buddy-movie') and I can't think of another film that was just such a relentless, pure-action-from-the-beginning-to-the-end film as was 'Die Hard'. To me, it's the ultimate thrill ride. The formula has since been repeated so many times, but the original still sets the standard by which I judge an action film. Should be seen every Christmas. 10 stars out of 10.