Die Hard - 24th December 2010
So I put off writing this review for two weeks
A) because it's been Christmas and New Year (Happy New Year by the way!) and
B) because I have no idea how you review a near perfect film.
What do I say? There isn't one thing I would change about the film, it is a sheer genius exercise in seemingly effortless, quintessentially American film making.
The whole set-up is so perfectly simple and it plays out in such a way that, even now, after all the copy cat films, the analysing of the apparently obvious yet deceptively well thought out formula and the 100 viewings it is still a frantically enjoyable, thrilling, exciting and amusing watch.
As far as American style film theory and production is concerned it is a masterpiece, the writing and characterisation has never really been bettered in a popcorn flick (though many have tried), the direction is flawless, the acting a delicious treat with every single cast member both big and small savouring every wonderful syllable and making even some of the most mundane words instantly quoteable and 22 years later, apart from maybe some of the fashion, it hasn't dated a bit, not even the special effects.
I came to see this on Christmas Eve, in a cinema full of fans, some of them quite merry and drunk, at midnight in New York and really, it's one of the best ways to see a film ever.
If there are recurring themes to this ongoing blog it's that I can't say enough good things about seeing films in the cinema, especially classic films at midnight and the other is my theory that we haven't really had it as good as we did in the 80s as far as modern, American movies are concerned.
While the auteurs of the 70s were influenced primarily by European films and the so-called indie directors of the 90s drew heavily and openly from everything that came before, toned down the action and brought up the dialogue, in the 80s America learned to blend invention, craft and box office in such a way that we've had difficulty replicating it since.
Die Hard is a perfect example of this, if not the genuine originator and the high water mark by which all future one-man against an army action movies would later be judged. It has a premise you could explain in under ten words (although the people who designed and wrote the above poster seem to have had a real problem doing this!) and yet in executing that premise, the film-makers are careful to give absolutely every speaking role a detailed character with a subtle and purposeful arc.
For example: In the news station studio, that we really only see twice in the film, we are aware of the tensions between the staff and the foolishness of the preening smarmy anchor, it is all in the quick yet perfectly timed and played detail; detail in the writing, detail in the performance, the set design and the direction. Now there is no real plotting need for any of it but what it does so expertly is it gives you something to watch and enjoy at all times and it sets this high concept narrative, that requires a fair suspension of disbelief, in a realistic setting we can all appreciate, understand, empathise with or laugh at. That is Die Hard's ace up its sleeve, especially when you consider that the action mainly consists of a little gun play, some running, some punching and a couple of sizeable explosions but nothing extraordinary by today's standards.
Also, long before the 'wear your influences on your sleeve', pop culture nodding antics of Tarantino and crew, Die Hard, from the moment stuff starts to go down, immediately acknowledges the updating of its conventions from the old Western genre in the quick fire radio patter between the hero and the villain because what is Die Hard if not a Western, after all doesn't a stranger ride into town and save the town folk from some low-lifes?
It is fantastically fun and a must see, especially at Christmas.
10 out of 10 stuffed and roasted German turkeys. (see what I did there?)
Points from the Wife - 10 out of 10
RED - 7th November 2010
Apart from Bruce Willis nobody in this film is really associated with action. Yes Malkovich was in Con Air, Freeman in Robin Hood, Mirren was in one of the National Treasure movies and Brian Cox was in an X-Men movie but the likes of Stallone and Lundgren these are not.
What this movie is, is a relaxed action comedy with big name stars having a whale of a time running around playing super spies embroiled in an easy to understand plot, directed superbly, with a few good surprises and hardly any disappointments. If you saw the trailer and thought, hmmm that looks like a bit of fun on a cold Saturday afternoon, then you'd be right. It doesn't challenge, amaze or go over any particularly original turf but it doesn't over stay its welcome, doesn't attempt to be too smart arse, wrings plenty of laughs out of its situation, has a couple of pretty good set pieces and includes Dame Helen Mirren in a pristine white evening gown firing off round after round on a huge tripod mounted machine gun and looking right at home. What more could a happy-go-lucky cinema goer want?
The script is good and it rattles on at a pace, hopping all over the picture postcard version of the United States (literally, actually, in the use of nifty title cards) which is precisely what I want from an ensemble action comedy. So it's a, let's get the old gang back for one last fight movie where, at the end of it, you wouldn't mind them getting back together for yet another last fight, if the box office so allows.
The only weak link in all of it is, surprisingly, Bruce Willis. What's happened to him? where did his sense of humour go? It's like it left with his hair. Weirdly, despite being the main action hero guy, the central character and the anchor for the whole film, he doesn't exactly do a ton of action, apart from a pretty impressive hand to hand bit of business in an office which is very cool, his charisma, effort and style seems to be sitting this and many of his other recent films out on the bench and watching his performance makes you wonder if the Willis of Moonlighting, Die Hard and Twelve Monkeys will ever return. I think someone has spent too long getting his own way and if there's an actor on the planet who needs to realise his ideas aren't very good and he should probably shut his trap and get on with the job of being Bruce Willis then it's Bruce Willis. If you want to see what I mean watch Gilliam debate him on the set of Twelve Monkeys in the Hamster Factor. Listen Willis, no one is interested in your pushy attitude and coming on all bald with people, all we want is you shooting people in a vest while tossing out one liners like a stand up at a gun fight.
Also, apart from the inevitable bit when she gets kidnapped and needs saving, the whole sub-plot about Willis and Louise-Parker's burgeoning attraction for each other is utterly irrelevant and unnecessary. I know the studio want her in there so there's some sort of love interest to keep the women happy and also to have her as a naive audience substitute where we are meant to see this crazy world through her eyes and have a character we can latch on to and go through the film with but when are they going to realise that the audience for this film have seen it a hundred times over and don't need someone for Bruce Willis to explain obvious things to, we know Malkovitch is the wacky, damaged ex-spy who has mental conspiracy theories we don't need dialogue of Bruce telling his girlfriend that. We get it.
All that said though, it made me laugh, it made me cheer and the actors, all except Bruce, look like they are enjoying it all immensely. Does exactly what it says on the tin, bring on the sequel.
6.5 out of 10 mashed potatoes and gravy (comfort food for comfort viewing)
Points from the Wife - 7 out of 10 mashed potatoes and gravy