By Anna Merlan
By Lee Escobedo
By Alice Laussade
By Scott Reitz
By Claire Lawton
By Kiernan Maletsky
By Anna Merlan
At this point Willis could be delivering that monologue in almost any of his action films. Where McClane began as a particular man with a unique personality and his own set of problems, the series has hollowed him out, turning him into a generic hero who can be dropped into any situation to say his catchphrase at least once per film with the predictability of a pull-string toy.
That doesn't mean the Die Hards have gotten bad. To the last, they're glossy, big-budget action films crafted with care and built around this most charismatic of movie stars. But to revisit them is to see a series that's lost sight of what set it apart in the first place. Maybe A Good Day to Die Hard — which teams McClane up with his estranged son — will change that. Maybe this rendition, which hadn't screened for critics at press time, will be as much about forging bonds as dodging bullets and make McClane back into a character we might feel for. It's a long shot at this point, but he's beat the odds before.
You never care about what's going on, you just want for the next action sequence. And please don't forget the absolutely awful distracting direction in this installment (John Moore needs to go back to flim school). Sooo disappointing after the previous installment. This has all the feel of something slapped together because the studio had some free time. Hell, Arnie's "The Last Stand" was more entertaining by a mile.
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