Talking Movies

February 14, 2013

A Good Day to Die Hard

mother-russia_ew

Bruce Willis returns as NYPD’s finest terrorist/master-thief-killing  Detective John McClane, once again in the wrong place at the wrong time; this  time with his son.

McClane is horrified to find his estranged son Jack (Jai Courtney) has been  arrested in Moscow for killing a man in a nightclub. He flies to Russia, heeding  the warning of his daughter Lucy (Mary Elizabeth Winstead) not to make a bad  situation worse. He then, of course, proceeds to make it catastrophic. Jack is  actually an undercover CIA operative trying to protect Komarov (Sebastian Koch),  an oligarch become political prisoner. Komarov has incriminating evidence on  ex-business partner Chagarin (Sergei Kolesnikov), a man sympathetic to terrorism  and on the point of becoming Defence Minister. Jack’s cover comprehensively  blown by dad he retreats to the safe house run by his Agency handler, Collins  (Cole Hauser). But the unstoppable killers Alick (Radivoje Bukvic) and Irina  (Yuliya Snigir) seem to be one step ahead of the McClanes, and Jack mulishly  refuses John’s advice…

Director (and Dundalk native) John  Moore proved with Behind Enemy Lines  that he could deploy every weapon in the stylistic arsenal, but since then he’s  been serving time putting a glossy sheen on mediocre material. This is his shot  at the big time, but you suspect, despite his unwarranted criticisms of Die Hard 4.0, that he’s still putting a glossy  sheen on sub-par material. The spectacular car-chase following John pursuing  Alick tracking Jack and Komarov doesn’t stint on the vehicular destruction and  Alick’s beast of a machine is a joy to watch. Moore also has a lot of fun with  the thudding ballistics of a helicopter gunship tracking the McClanes down the  façade of a hotel. But, this film is half an hour shorter than all previous  instalments, and that missing 30 minutes would’ve usefully housed humour and  character moments.

Skip Woods’ script shares with his Wolverine plot a terribly disguised  early twist that vitiates a later great twist, and despite being written as a Die Hard it really only latterly feels  like one. There is a glaring reference that cleverly transforms into a traumatic  character death, but while there’re nice moments of musical homage by Marco  Beltrami to Michael Kamen’s iconic score and its appropriation of Beethoven,  frequently we’re treated to Zimmer/Howard Bat-rumblings, and Moore’s hand-held  direction lacks the geographic clarity of McTiernan’s template; something which  Len Wiseman wisely amended his style to synch with in Die Hard 4.0. Acting wise MEW’s bookending  cameo is delightful, while Snigir may (and I say this as a Nikita fan) actually be better than Maggie Q’s 4.0 villainess; her nihilistic rage in  the finale is astonishing. Courtney is physically imposing but he lacks the  endearing charm of Bruce Willis past and present.

This lacks the gleefulness that ‘Yippee-Ki-Yay Mother Russia’ teased, but  it’s an entertaining outing that doesn’t disgrace the franchise.

3/5

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