Die Hard (1988)
Country: US
Technical: col/scope 132m
Director: John McTiernan
Cast: Bruce Willis, Alan Rickman, Bonnie Bedelia, Alexander Godunov
Synopsis:
An off-duty New York cop visiting his estranged wife and family in L.A. arrives at the tower block where she works just in time for the Christmas party and, less fortuitously, for a hijack of the building by German terrorists. At first undetected, then hunted, by the gunmen, he does his best to foil their plans and alert the authorities.
Review:
Commercially extremely successful shoot'em up whose gimmick was to have a hero who wasn't armed to the teeth and built like Arnold Schwarzenegger. It also abides by some pretty safe dramatic principles, namely the three unities, a suave villain (welcome change from the sickos of 80s action thrillers) and an underdog lead character who spends much of the time barefoot in his vest and trousers. Connoisseurs will appreciate the outstanding production values and muted colour scheme, humour and pace. All in all a bullseye which shot its star to instant big screen success (though it was ages before he could do anything right except play in sequels) and provided a template for countless one-man-against-terrorism imitations, for the hubris of which 9/11 was nemesis. Speaking of the debit side, it is depressing to note the nationally stereotypical preoccupation with wholesale destruction (it is of course a new building) and the subplot concerning a cop who finally manages to overcome a phobia about using his firearm.
Country: US
Technical: col/scope 132m
Director: John McTiernan
Cast: Bruce Willis, Alan Rickman, Bonnie Bedelia, Alexander Godunov
Synopsis:
An off-duty New York cop visiting his estranged wife and family in L.A. arrives at the tower block where she works just in time for the Christmas party and, less fortuitously, for a hijack of the building by German terrorists. At first undetected, then hunted, by the gunmen, he does his best to foil their plans and alert the authorities.
Review:
Commercially extremely successful shoot'em up whose gimmick was to have a hero who wasn't armed to the teeth and built like Arnold Schwarzenegger. It also abides by some pretty safe dramatic principles, namely the three unities, a suave villain (welcome change from the sickos of 80s action thrillers) and an underdog lead character who spends much of the time barefoot in his vest and trousers. Connoisseurs will appreciate the outstanding production values and muted colour scheme, humour and pace. All in all a bullseye which shot its star to instant big screen success (though it was ages before he could do anything right except play in sequels) and provided a template for countless one-man-against-terrorism imitations, for the hubris of which 9/11 was nemesis. Speaking of the debit side, it is depressing to note the nationally stereotypical preoccupation with wholesale destruction (it is of course a new building) and the subplot concerning a cop who finally manages to overcome a phobia about using his firearm.
Country: US
Technical: col/scope 132m
Director: John McTiernan
Cast: Bruce Willis, Alan Rickman, Bonnie Bedelia, Alexander Godunov
Synopsis:
An off-duty New York cop visiting his estranged wife and family in L.A. arrives at the tower block where she works just in time for the Christmas party and, less fortuitously, for a hijack of the building by German terrorists. At first undetected, then hunted, by the gunmen, he does his best to foil their plans and alert the authorities.
Review:
Commercially extremely successful shoot'em up whose gimmick was to have a hero who wasn't armed to the teeth and built like Arnold Schwarzenegger. It also abides by some pretty safe dramatic principles, namely the three unities, a suave villain (welcome change from the sickos of 80s action thrillers) and an underdog lead character who spends much of the time barefoot in his vest and trousers. Connoisseurs will appreciate the outstanding production values and muted colour scheme, humour and pace. All in all a bullseye which shot its star to instant big screen success (though it was ages before he could do anything right except play in sequels) and provided a template for countless one-man-against-terrorism imitations, for the hubris of which 9/11 was nemesis. Speaking of the debit side, it is depressing to note the nationally stereotypical preoccupation with wholesale destruction (it is of course a new building) and the subplot concerning a cop who finally manages to overcome a phobia about using his firearm.