Yippie Ki Yay!
One last hurrah; I think that’s an apt name for a trend currently making the rounds in commercialized film. Disappointed with the performance of half-baked productions, Hollywood has turned, in its moment of need, to characters previously thought buried for good. Most producers and directors claim their motives for such resurrections are noble. It’s clear however that this recent trend of old franchises is nothing more then an attempt to grasp at past glories…a need to restore profits for billion-dollar “strategic misfires”. Yes, these so-called triumphant returns are thin (Rocky Balboa anyone?). Beyond that, few make sense. And for those of you thinking that’s where I’m going with this review, allow me a moment to clarify:
The return of Die Hard makes perfect sense.
Showcased in numerous film school curriculums, played eternally on basic cable, the original Die Hard remains the template for all high-octane action adventure films. Revolving around a New York City Police Officer trapped in an L.A. high rise, Die Hard has been copied again and again by filmmakers. Even one of television’s most popular shows, 24, remains a loving, yet outright replica of John McClane’s adventures.
That is why I not only believe that “Live Free or Die Hard” makes perfect sense, but also shocked that it hadn’t been generated sooner.
Opening on an act of computer terrorism against the United States, Live Free dials immediately into John McClane as he attempts to reconcile with his disenchanted daughter, Lucy. Failing to win back her trust, McClane proceeds with the task of apprehending computer hacker Matt Farrell (Justin Long), only to be attacked by the very terrorists menacing the country. From then on, Live Free makes the wisest decision any film in its position could make: it never lets up.
Various Helicopter attacks, gunfights and explosions all build to a tremendous conclusion that makes the stakes higher and deadlier for McClane and his weary sidekick. This fast and furious pace is pulled off because of an ingeniously simplistic plot.
Okay. Are you ready for it? Cause I’m going to tell it to you. Here it is: McClane has to stop the terrorists.
I know! After films with alien goo and double (not to mention triple) crosses, I’m amazed to find a movie where the action boils down to the straightforward concept of a good guy simply trying to stop a bad guy. To be fair, McClane is given a very personal motivation later on in the film. But even then, the plot is largely straightforward. There are no double-crosses, no stories within stories. It’s a resurrection of the original Die Hard, albeit on a much grander scale.
Now, is it as sharp as the original, as innovative? Not by a long shot. It’s simply well built and deliciously unpretentious. Aside from that, the action is pretty ludicrous and the various challenges far-fetched. At one point McClane manages to outrun a fighter jet on a crumbling freeway, only to jump out of his wrecked vehicle and onto the back of the aircraft pursuing him. It’s…funny.
Aside from defying the laws of physics, the film turns in plenty of quotable lines and shocking deaths. Those concerned that the conscious decision to take the film from an R rating to a PG-13 need not worry…the action is still very intense and gruesome. McClane even manages to get off his trademark phrase before the film winds down.
More disquieting is Willis’ turn as McClane, which ranges from “phoning it in” to “quiet and assured”. While he remains likable for most of the film, it’s easy to see he’s just relying on his natural personality to keep the story afloat. Still, it’s all fine and good. Even Justin Long.
If I could have placed a surefire bet, I would have bet he would be annoying as hell in this flick. Guess what? He’s not. He’s actually kind of likable. Towards the end, I was even pulling for him to survive the villain’s wrath. Far more likable is Mary Elizabeth Winstead as Lucy Gennero (today its Lucy McClane). She’s volatile as McClane’s far from helpless daughter. Even Timothy Olyphant, an actor I normally dismiss, pulls out a dangerous enough baddie for McClane and Long to fight. Of course, he doesn’t match up with Alan Rickman’s performance in the original flick…but who does?
At the end of the day, Bomback and Wiseman both make few changes to the original formula. Instead, they simply satisfy themselves with making an action film that is louder and bigger, yet still personal enough to engage viewers on a deeper level. I’m very tempted to make Live Free or Die Hard a close second to the original.
In a Hollywood where tons of grounded franchises are given license to play again, Die Hard was the only film series I felt truly deserving of another chance, especially in world where every script is more then a winking facsimile of McClane’s first adventure. After having seen Live Free or Die Hard, I get to add a new side to that statement: it’s also the only film series that made good on its promise of a triumphant return.
