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NO one
winces like Bruce Willis. A man with a million-dollar
grimace, the actor gets lots of opportunity to play to
his strength in Live Free or Die Hard (to be
known in other territories as Die Hard 4.0; it
opens in Philippine theaters on July 4 from 20th Century
Fox—Ed.), the latest adventure of ultraviolent Energizer
Bunny John McClane: He’s not exactly cuddly but he keeps
on coming.
The
fourth film in the Die Hard franchise, and the first to
snare an unlikely PG-13 rating, Live Free has the
New York City police detective falling out of moving
vehicles, surviving multiple explosions, coping with
crack teams of French assassins and dodging missiles
fired by a Harrier jet. All in a day’s work for someone
who insists he’s a hero only because “there’s nobody
else to do it right now.”

Enduring heroics
After three
outings as Die Hard’s John
McClane, Bruce Willis (here
with costar Justin Long) continues to amp up believable
onscreen heroics.
Yet
despite considerable odds, not only does McClane stay
alive, his movie does, too. Inevitable lapses in
plausibility and an inflated two-hour, nine-minute
running time aside, Live Free or Die Hard is a
slick and efficient piece of action entertainment, fast
moving with energetic stunt work and nice thriller
moves.
Key in
making this happen is director Len Wiseman, a veteran of
action extravaganzas Underworld and
Underworld: Evolution, a man with a passion for
physical stunts and the ability to keep the pace from
lagging.
Although
Live Free has one of the most convoluted writing
credits in memory—“screenplay by Mark Bomback, story by
Bomback and David Marconi, certain original characters
by Roderick Thorp, based upon the article ‘A Farewell to
Arms’ by John Carlin”—the result is a shrewd,
serviceable premise that feels uncomfortably real.
The
notion, inspired by that Wired magazine article, is that
the more we as a society have our essential systems run
by computers, the more vulnerable we are to having those
systems messed with by brainy bad guys intent on
catastrophic results. While it seems as if every third
thriller these days has computers as part of the plot,
this one makes them relevant.
Live
Free also has the advantage of a wide-awake Willis. An
actor who looks to have sleepwalked his way through
parts of his extensive filmography, Willis can be an
effective force when he is involved, and being in the
franchise that made his feature reputation has certainly
concentrated his attention.
Helping
with that is the expert work of casting directors
Deborah Aquila and Tricia Wood, who’ve surrounded the
star with actors who are right for their parts. Whether
it’s Justin Long as McClane’s computer-savvy sidekick,
the deadly duo of Timothy Olyphant as the evil genius
and Maggie Q as his mistress of martial-arts girlfriend,
New Zealand’s Cliff Curtis as an FBI honcho or even
director Kevin Smith moonlighting as a “digital Jedi”
named Warlock, each performer noticeably adds to the
film’s effectiveness.
Live
Free
introduces McClane at his least heroic, in
New Jersey
having a spat with his teenage daughter Lucy (Mary
Elizabeth Winstead), who is so fed up with her dad,
she’s changed her name and refuses to talk to him.
Given
that he’s already in the Garden State, McClane’s boss
sends him to pick up a young hacker named Matt Farrell
(Long) as part of a broader sweep to figure out why
someone has hacked into the FBI’s Department of Cyber
Security.
Wouldn’t
you know it, the bad guys want young Farrell dead, and
McClane just happens to have the inexhaustible supply of
weaponry and bullets necessary to hold the evildoers at
bay as he tries to figure out how to save the world one
more time.
That
this implausible stew works as well as it does is in
part a tribute to the unlikely but enjoyable rapport
that forms between old school McClane and his youthful
computer-savvy companion. Given how many off-putting
ways the part of an arrogant and brainy cyber-geek could
have been miscast, it’s a pleasure to see how engaging
Long, known for his Apple Computer commercials, is in
the role.
Live
Free or Die Hard
tries hard to retain the spirit of the original films,
to keep alive the notion that McClane, “a Timex watch in
a digital age,” is just an ordinary guy. The number of
impossible situations he manages to get himself out of,
however, makes that really hard to sustain, but it
matters not. Anyone who says the reason he used a flying
car to take down a helicopter was simply because he “ran
out of bullets” has our attention. |