[Occasionally, ACC will provide retro reviews of long released films. Below is one that was written for a writing for film course I took in the late 2007].
The 1990s must not have been an easy time for the founders of "Planet Hollywood". Attempting to move on from the 80s action roles that defined them, their forays into other types of films met with varying and often disappointing results, not the least of which was diminishing box office returns. Now, well in their 50s (and perhaps hoping to recapture some of that old 80s matinee magic), they have dusted off their respective properties: Arnold Schwarzenegger went robotic in Terminator III: Judgment Day one last time before becoming “The Govenator”. Sylvester Stallone revived Rocky Balboa for one last eponymous and critically acclaimed bout (and hopes to strike a one-two punch with the forthcoming Rambo). So it comes as no surprise that Bruce Willis brings John MacLaine out of retirement for one last hurrah in Les Wiseman’s Live Free and Die Hard (2007), the fourth installment in the Die Hard franchise that, for all its modern elements, cannot help but show its age.*
When the FBI’s mainframe is hacked, they enlist reluctant NYPD Detective John MacLaine (Willis) to retrieve teenager Matt Ferrell (Galaxy Quest’s Justin Long), a hacker who is suspected of having something to do with the event. No Die Hard film would be complete without MacLaine going through some sort of domestic dispute, this time in the form of his estranged daughter Lucy (Mary Elizabeth Winestead). While the specifics change, the basic plot remains constant: A terrorist (Timothy Olyphant) holds innocent hostages in the name of revenge and profit. In this case, the hostage is the United States and the means cyber terrorism. This film’s technological bent not only modernizes the concept for the sake of relevance, it also taps into a prevailing national fear. While the Die Hard films can not be considered existential by any stretch, this latest entry presents a threat scenario that could conceivably happen. Perhaps if this were a William Gibson novel, more consideration could be given to this possibility and how it could be practically resolved. However, this is a “blow-em-up” action film where practicality, logic, and the laws of physics are violate or outright discarded for the sake of thrills and chills. On this level, the film only partially delivers.
As befitting its modern setting, the action and special effects get spruced up. Unlike MacLaine, director Wiseman seems to be enamored of all the benefits requisite with technology as the film brims with CGI effects to the point beyond spillage. Unfortunately for the film, its special effects are not on par with those seen, say, in The Lord of the Rings trilogy, and its over-reliance on inferior CGI brings the viewer out of the action and removes any element of danger from the proceedings. Equally distracting are the various coincidences that drive the plot and rescues (especially in one narrow escape scene involving a Terminator statue) with each narrow escape more spectacularly incredulous than the last. However, these contrivances work if they are not dwelled upon. Marco Beltrami’s score doesn't help matters. The music is quite muted and sedate for a big budget action piece, which is surprising from the composer who scored such films as xXx: State of the Union, Blade II and I, Robot.
Wiseman tries to give this film an espresso shot not only through the visuals, but with the actors themselves. The film is infused with a self-conscious youth orientation in order to resonate with a new movie going generation to whom the Die Hard series is ancient history. Long acquits himself quite well as the fish-out-of-water hacker who becomes “Robin” to Willis’ uncaped crusader. Though given little screen time, Winstead makes the most out of her role as MacLaine’s feisty daughter to the extent that one can believe she came from MacLaine’s gene pool. Timothy Olyphant, while not quite fleshing out what is admittedly a two-dimensional role, projects a menace and evil that belies his good looks. One cannot help but note that Willis is the oldest of the principals and his (impressive) state of physical fitness, unfortunately, calls attention to that fact. In the previous installments, John MacLaine was an “everyman” who one could conceivably have a beer with; one who went from marginally fit in the original Die Hard to practically a slob in Die Hard with a Vengeance. Now trimmer, balder, and more determined (i.e. "bad ass") than before, Willis presents a MacLaine who, while still hurts and bleeds, teeters precariously close to the super action hero stereotype the series initially shied away from. It is only Wills’ natural charisma that preserves the audience’s ability to root him on. The film is replete with homages to the previous films (such as an agent’s particular surname, running through shards of glass, helicopters, claustrophobic hallways, etc.) that any fan of the previous films will enjoy, but also reminds the viewer that this is previously charted territory.
Very few sequels dare to go beyond the edict of “more of the same”, and rarely do they succeed. For all its flaws and self-consciousness, Live Free and Die Hard makes the attempt and, while not wholly successful in that endeavor, is still an entertaining action romp, and isn’t that what all action movies ultimately aspire to be?
*NOTE: All three actors reprised these roles in outings released subsequent to this review.