John McClane travels to Russia to help out his seemingly wayward son, Jack, only to discover that Jack is a CIA operative working undercover, causing the father and son to team up against underworld forces.
Mr. Church reunites the Expendables for what should be an easy paycheck, but when one of their men is murdered on the job, their quest for revenge puts them deep in enemy territory and up against an unexpected threat.
Disgraced Secret Service agent (and former presidential guard) Mike Banning finds himself trapped inside the White House in the wake of a terrorist attack; using his inside knowledge, Banning works with national security to rescue the President from his kidnappers.
Iconoclastic, take-no-prisoners cop John McClane, for the first time, finds himself on foreign soil after traveling to Moscow to help his wayward son Jack - unaware that Jack is really a highly-trained CIA operative out to stop a nuclear weapons heist. With the Russian underworld in pursuit, and battling a countdown to war, the two McClanes discover that their opposing methods make them unstoppable heroes.Written by
Guy from Estonia
Eric Jacobus and his stunt team designed (and filmed a screen test) of a fight scene between Bruce Willis and Radivoje Bukvic. The scene would have featured Alik attacking John McClane with a knife on a rooftop, but their choreography was not utilized. See more »
The boxes used to store and move the enriched uranium have both the radiation symbol (correct) and the biohazard symbol (incorrect) on them. Biohazard symbols are used to indicate materials of biological origin. See more »
In the first airport scene, she no longer drops her father off. The scene was reedited, in the last shot you can only see Bruce Willis getting out of the car, but you can't see any driver. You only hear voice sounding like Amaury Nolasco's character.
During the car chase in Moscow, she doesn't call McClane anymore. This time father and son can look at each other in the slow motion shot.
The end scene at the airport was cut, the movie ends with the aerial Chernobyl shot. Despite she's not in this version, her name still appears in the end credits.
I hate to be the bearer of bad news but this is terrible.
Q: So what did everyone do as soon as they heard John Moore was directing the next Die Hard film?
A: Look up his filmography and see titles like the remake of Omen and Max Payne.
And now, sadly, A Good Day to Die Hard will join his list of notoriously bad films. As much as I wanted to like this movie, I just couldn't; not even as a die hard fan of the franchise.
First, let's look at the selling point. We're promised ONE thing: a larger scale as far as action sequels go. The first Die Hard took place in a building, the second one in an airport and, the third in NYC, and the fourth in the entire nation of the United States. So logically, Die Hard 5 was going to go international.
Well, ironically, A Good Day to Die Hard feels like the smallest film of the five because the stakes feel so low. The action is endless chaos from start to finish; you quickly become numb to it. And unlike previous Die Hard films, the terrorist threats never get carried out. I never felt like John McClane was going to lose.
The one-liners aren't clever. The jokes aren't funny. The bad family relationship story is getting really old, especially when Die Hard 4 primarily focused on the estranged father-daughter relationship. And unlike Lucy who just came off as a spoiled brat, Jack McClane is introduced by pulling a gun on his own father who we have grown to love over four movies.
I can't speak too much about the "villain" (played by Radivoje Bukvić) without spoilers, but all I have to say is that he has little to no part in the movie. The evil Russian comes off as a cliché, and again, he carries out no threat. I'm dying to talk about the story here, but let's just say it has a really brain dead ending.
In an attempt to end the review on a more positive note, I'd like to say that the movie does have some "oh sh*t" moments here and there. However, I'd still stay clear of this one.
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