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.
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
The Cougar HEV armored truck was portrayed by four replica vehicles: three custom vehicles made by the specialists of Team Szalay, built on chassis of military surplus 6-wheeled ZIL 131 trucks, and powered by Ural truck engines. The fourth replica used for jump stunts was made in the U.S. and was powered by a V10 Dodge Viper engine. See more »
While John and Jack held up at the Ball room by Alik with their hands tied, Jack cuts his way using the knife he had hidden in his socks. If you look closely, you can see a henchman standing behind John and Jack. Maybe he was smoking something or drunk and he didn't notice Jack cutting his cuffs. 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 kept an open mind, but so much was left to be desired.
In the early '80s and '90s, the "Die Hard" series of films were all about entertainment. Sure it's not a thought-provoking piece of art, but it's art done with class, integrity and art; these films were made at a time when action films were..actually..action films. They had no quick-style MTV editing that tries to pass itself off as "action", they were done with pure and honest craftsmanship with stunt men willing to put it all out for all to see. And for that aspect alone, they did a commendable job.
So now I look at A Good Day to Die Hard, with all the trappings that action films are known for and ostentatious hijinks that scream Michael Bay-esque action that reeks of his earlier films to date.
Bruce Willis plays McClane to a hilt, but that's all there is. No heartwarming moments, no instances of morality, no deep insights into why he kills his enemies, John McClane is just that. John McClane. A bravado of words and action that homages the earlier films.
The movie at times tries to be gritty and funny at the same time, but with such an inane screenplay and unfunny jokes, it becomes quite apparent that this film was simply not meant to continue the series. To try to adapt an relic of the '80s and '90s into a modern context with current technology, doesn't work anymore. The only exception to this is Rambo, where he was fighting against a brutal regime in Southeast Asia. It worked because the setting was raw in it's brutal intensity; plus Rambo is a timeless hero and much more plausible. John McClane is just a beefed-up Jack Bauer without the hero's legendary outbursts of anger when something goes wrong or impedes him from saving the day. Not once is there a chance for the viewer to root for McClane. He remains lifeless and stiff; the very opposite of his portrayal in the earlier films.
In an attempt to distance itself from its PG-13 predecessor, the film makers decided to make this film rated R. Yet it hardly saved the film from it's mediocre direction. I suspect this was due to the large backlash from audiences of Live Free or Die Hard, a film that was only a Die Hard film in name only, not a "true" Die Hard film, which is evident in the director's inability to handle the material.
I tried to keep an open mind, after the execrable LFODH, but after this, I hope Bruce and co. just hang up the wife beater for the final time. No more. John McClane is a hero of the past and should be left there for all time's sake.
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