Showing posts with label die hard. Show all posts
Showing posts with label die hard. Show all posts

Monday, February 25, 2013

Review: A Good Day to Die Hard

Unlike the previous films in the series, A Good Day to Die Hard was widely panned by critics. Based on 177 reviews collected by Rotten Tomatoes, the film received a 16% approval rating from critics, with an average score of 4/10. By comparison, Metacritic, which assigns a normalized rating in the 0–100 range based on reviews from top mainstream critics, calculated an average score of 29 based on 39 reviews, indicating "generally unfavorable" reaction. On both websites, the film ranked lowest among the Die Hard films. CinemaScore polls reported that the average grade cinemagoers gave the film was "B+" on an A+ to F scale, and that audiences skewed slightly male and older.

-Wikipedia

Warning! Spoilers ahead! This is not a drill!

Actually, I liked it. No, I didn't think the latest film in the Die Hard franchise was terrific or fabulous, but it's a pretty good way to kill 97 minutes and watch lots of chase scenes, shootouts, and explosions. In the opening scenes, Bruce Willis shows his age (he'll be 58 next month) with very visible grey in his beard and hair (both remarkably short but visible), which I suppose is to highlight the fact that he has just discovered that his estranged son Jack (played by Australian actor Jai Courtney) has been put in a Russian prison for murder. Of course, John has no way to know that his son is an operative for the CIA and this is all a clever plot to put him in the same Moscow courtroom as Yuri Komarov (Sebastian Koch), a former terrorist and former partner of corrupt Viktor Chagarin (Sergei Kolesnikov) who "grew a conscience" in prison and is now going to testify against Chagarin, implicating him in some unmentioned (at the beginning of the film) chicanery.

John shows up in Moscow just as Jack is being taken into court. He manages to get to the outside of the courthouse, but the courtroom with Jack and Komarov is sealed, presumably to prevent another assassination attempt against Komarov.

John looks around and spies a rather unusual vehicle but doesn't put two and two together in time before the plot is hatched and a gang of Russian thugs led by Alik (Radivoje Bukvić) blows up a ton of parked cars, blasts a hole in the courtroom freeing Jack and Komarov, and kills just about everyone inside.

Jack manages to get out of the courthouse with Komarov, avoiding a hit squad that was sent in to make sure of Komarov's death and steal a van. The problem is, as Jack and Komarov are making their getaway, John steps in front of the van, thinking his son is a fugitive from justice, and stops them. During the delay, even though Jack and Komarov escape John, they miss their exit window and are stuck with "plan B," a safe house in Moscow.

The usually competant John McClaine gets egg on his face on multiple occasions early in the film as he realizes he's blundered into a scenario far outside his normal "cops and robbers" scope. This does nothing to help repair the already trashed relationship John has with Jack. Even after John manages to stop Jack's pursuers in a spectacular car chase that you'll have to see to believe, Jack still thinks his father is a total screw up. Thus the three of them arrive at the so-called "safe house," which is where John finally sees who and what his son really is...a CIA agent.

But Jack's partner is abruptly killed before getting "the file" from Komarov, so with no allies left in Moscow, John, Jack, and Kamarov go it alone in search of "the file" that Kamarov is supposed to have and will give to Jack in exchange for getting him and his daughter Irina (Yuliya Snigir) out of Russia.

Of course, it's not that easy. One key acquired, one double-cross, one beating, one shootout, and one helecopter attack later, Komarov, Irina and the key to the file are gone, in the hands of the bad guys while Jack and John are left battered and bleeding with no "plan C" or any other letter of the alphabet left. Jack, who up until this point, has always played by the rules, is out of options, but this is where his "shoot from the hip" Dad feels right at home.

The film seems a little forced or awkward during the conversations where John and Jack are supposed to be trying to relate to each other as father and son, but then again, their relationship as father and son is forced and awkward, so it fits. Neither of them know what to say to each other and when John finally says, "I love you boy," you can feel the weight of his age and the long years that stand between them in his words and his voice.

But there's another double-cross. Komarov and Irina aren't the victims, they're the predators. The prize never was a file full of evidence, it was a crap-ton of weapons grade uranium hidden in a vault in the one place in the world no one in their right mind would want to go: Chernobyl.

The place should still be incredibly radioactive, but except for protection suits worn by Kamarov and his party while locating the vault, that doesn't seem to be a problem. Irina uses some sort of device to "neutralize" the radiation, then all protective gear is no longer required. Komarov caps Alik and has Chagarin's neck broken by his own masseuse.

Then the McClaine father and son team, who have providentially stolen a car loaded with body armor and weapons, drive the twelve hours it would take to go from Moscow to Chernobyl, Ukraine, and kick ass.

The good guys win but not until a series of death defying feats that should have put them bothin intensive care and lots and lots of bodies, bullets, and explosions happen, which is why we watch these types of films anyway.

There's a horrible hint that Jack might take over the "Die Hard" films, retiring Willis and replacing him with Courtney (and possibly Mary Elizabeth Winstead playing Jack's sister Lucy who was featured in the previous film and who briefly appeared in this one). I really hope I'm wrong.

On a scale of 1 to 10, this film is solid "OK." It was entertaining, but I really didn't need to see it on the big screen. It would have been just as good as a DVD and that's probably when I'll see it again.

I tend to think that the original film Die Hard (1988) and Die Hard with a Vengence (1995) were the best in the series. The fourth film was pretty good and certainly one, three, and four beat the current film, not to mention the terrible Die Hard 2 (1990), which was just a lame recycling of the first film.

Yeah, it was a good shooting, explosion, thrill rush film for guys and I'm not sorry I saw it, but if you don't want to blow your hard earned dough on seeing it in the theatre, I'm sure it'll look just as good on the small screen at home.

Oh, the one thing I would have liked a little more of is the "steamy" side of Irina. But her hottiness is revealed just in passing.

Monday, August 16, 2010

Where Have All the Heroes Gone?

This isn't a review of The Expendables. Frankly, I haven't even seen it yet. I did hear that it has completely blown away the Julia Roberts film Eat Pray Love. It's not that I don't love Julia Roberts and it's not like I don't like a good "self-discovery" film, but my heart will always belong to the action, explosion-packed, car chase, gun shooting film genre. Heck, I watched Live Free or Die Hard (2007) and Blue Thunder (1983) over the weekend just to get my fix.

But let's face it, Bruce Willis is 57 and Roy Scheider died in 2002 at the age of 75. Our classic film heroes from the 1970s and 80s aren't getting any younger. For that matter, Sly Stallone is 64 (and up until the Expendables, his more recent films haven't been doing so well) and Arnold Schwarzennegger, who along with Bruce Willis, had a cameo in The Expendables, just turned 63 a few weeks ago. Why are old guys still making action films. Is it because there are no young guys to step up to the plate?

The younger action heroes that immediately come to mind are Christian Bale from the Batman films and Terminator Salvation (2009), Johnny Depp from the various Pirates of the Caribbean films (On Stranger Tides comes out next year), and Leonardo DiCaprio from the recent hit film Inception. Also, with the power surge of super hero films that have been recently released and those coming at us in the next few years, we can hardly say that we have no young, kick ass actors out there to play these parts, so why haven't people like Stallone and Willis either retired or gone on to play older guys in character roles (imagine Stallone as Don Vito Corleone in a remake of The Godfather (1972))?

We have young guys playing action roles but frankly, they're not legends. Maybe the concept of the legendary action hero has disappeared. We used to consider action heroes with a sense of awe. Not in the way that people might drool over Johnny Depp or Leonardo DiCaprio, but these heroes were "men". I know that sounds sexist, but they were a sort of role model for the inner hero in the average, ordinary guy. Sure, we weren't about to grab a gun and go blow away an army single handedly, but these were the "ideal" men. Men of courage against overwhelming odds and often, saving the world, even while half bleeding to death, with a sense of humor and some "killer" one-liners. These guys used to be everywhere. Who didn't admire John Wayne, Rock Hudson, Kirk Douglas (yes, Michael's Dad), Michael Douglas, Clint Eastwood, Harrison Ford, and on and on and... Where did they go?

The actors are there but perhaps the allure has disappeared. Today's action hero is less a hero and more a guy in a suit doing heroic stuff. We are entertained but we're not awed.

However, we're still awed by our aging classic heroes.

Today is the 33rd anniversary of the death of Elvis Presley, the King of Rock and Roll and even people who weren't even born 33 years ago are commemorating his death and celebrating his life. Did we run out of musicians in the 21st century? No, but we may have run out of legends.

I don't think you have to die to be a legend and I don't think you have to get old before you become a legend, but you have to possess something that younger actors and other celebrities just don't seem to have today. Yet, is it a lack in them or in us? Maybe as a society, we've lost the ability to generate those feelings any more and we only feel them for older stars by way of nostalgia (and a weird sort of nostalgia if you are in awe of someone you never experienced while they were alive). I can't really decide which way it runs, but there must be a reason that a film like The Expendables not only gets made in the first place (and studios don't make films unless they expect to make a lot of money on them) but does amazingly well at the box office.

Has Elvis left the building?