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Live Free or Die Hard | |||
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R E V I E W B Y R I C H C L I N E |
dir Len Wiseman scr Mark Bomback with Bruce Willis, Justin Long, Timothy Olyphant, Maggie Q, Cliff Curtis, Kevin Smith, Mary Elizabeth Winstead, Zeljko Ivanek, Cyril Raffaelli, Christina Chang, Jonathan Sadowski, Andrew Friedman release US 27.Jun.07, UK 4.Jul.07 07/US Fox 2h09 ![]() Awaiting the next onslought: Willis and Long ![]() ![]() ![]() See also: ![]() | ||
![]() John McClane (Willis) is a New York cop quietly going about his daily routine and keeping tabs on his university student daughter (Winstead) when he's asked to bring young hacker Matt (Long) to FBI headquarters. But shadowy baddie Thomas (Olyphant) has sent a bunch of goons to kill Matt. As John and Matt somehow escape every vicious assault, Thomas is unleashing a "fire sale" of America, invading computer systems to bring the infrastructure to its knees in an "everything must go" sort of way. Can John keep Matt alive long enough to undo this nefarious plan? Duh. Since we never doubt our heroes for a moment, the film struggles to generate any suspense. This is action porn, in which exhilarating set pieces are strung together with lots of running down corridors and climbing ladders and tapping keyboards. In between the elaborate stunts and effects work, the film is surprisingly dull; and during those big sequences, it's completely ludicrous. So we have little choice but to sit back and enjoy the ride. Fortunately, there's plenty of snappy dialog, plus terrific side characters like Q's relentlessly vicious henchman, Smith's hilarious fanboy super-hacker and Raffaelli's spectacular parkour physicality. Willis never forgets that a 50-something man really shouldn't be doing this sort of thing anymore, and he and Long have wonderfully sparky chemistry. Olyphant makes a great villain, although we never have an inkling why a man this stinking rich needs even more untold wealth. As for the action set pieces, Wiseman directs them with energy and style. The opening gunfight is breathlessly thrilling, and the sequence featuring an SUV in a lift shaft is extremely intense. On the other hand, the jet vs tractor-trailer on a collapsing motorway is both implausible and gratuitous. And the film is full of seriously bad audio dubbing, as if much of the dialog was added or changed in editing. Which only emphasises what a chaotic mess the film actually is. At least it's a big, loud, enjoyable mess.
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Michelle, London: | |||
© 2007 by Rich Cline, Shadows on the Wall
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