The Die Hard Franchise’s Biggest Twist

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#2 in my Ranking of John McTiernan films.

Compared to Die Hard 2, which seemed like a routine sequel, Die Hard with a Vengeance feels surprisingly innovative. While it maintains many elements from the original (such as the villain’s terrorist facade hiding personal greed, McClane working solo, and British actors portraying Germans masquerading as Americans), it offers more than just a repetition of what came before. The film cleverly reuses the formula to create something that feels fresh while still hitting familiar notes. It’s not just a stylish retelling, there are plenty of other entertaining aspects too. With a few minor exceptions, this is the best Die Hard movie so far in the series.

What makes this movie unique is its remarkable intelligence, as it initially presents itself as one story for nearly an hour before transforming into a completely different one, and the transition is smooth. Our protagonist, John McClane, who returns to being a New York cop on suspension, finds himself in a predicament when a department store in the city is bombed. A mysterious caller, identifying himself as Simon, makes a phone call playing “Simon Says” and threatens to detonate more bombs across the city if McClane doesn’t comply with a series of tasks. To avoid this, he’s forced to wear an offensive sign in Harlem, a move that could easily lead to his demise. Enter Samuel L. Jackson’s character, Zeus, a local business owner who is determined to prevent a white man, particularly a white cop, from being killed on the streets of Harlem during daylight. This would only escalate tensions in his community. Due to Simon’s demands, McClane and Zeus become inseparable for the first hour as they frantically race throughout the city to reach a payphone, receive the call, and prevent another bomb explosion. However, the timeframe is so tight that it seems impossible to achieve. By navigating creatively through Central Park, they manage to reach the payphone just in time, but the bomb still explodes.

In that initial hour, the execution is exceptionally brilliant. We find ourselves immersed in McClane’s journey through New York City, feeling the growing menace surrounding him. There’s a compelling dynamic between McClane and Zeus, reminiscent of the duo in 48 Hrs., where the chemistry between Bruce Willis and Jackson shines through their mutual hostility. The filmmaking is tense and precise.

Following the explosion at an underground subway station near Wall Street and a fresh threat against an unnamed city elementary school by Simon, New York City’s finest swiftly divert their available resources to this imminent threat, temporarily pausing activities on Wall Street, the Federal Reserve, and the ongoing movie. This pause provides us with our first glimpse of Simon as he orchestrates a group to infiltrate the Federal Reserve and steal its gold using dump trucks. The film catches up, giving viewers time to understand Simon’s character as he leads his team, occasionally taking breaks to taunt the police or McClane again. Although Hans Gruber from the first movie remains an exceptional villain, Simon Gruber is a worthy successor, significantly improving upon the insignificant Colonel Stuart from Die Hard 2.

One characteristic of many movies is the need to create reasons for the main character to act independently instead of calling the authorities. If they could just do this to deal with the danger, why don’t they? In Die Hard with a Vengeance, the school bomb threat provided a convincing reason for both the police and viewers as to why John couldn’t simply make a call for help. The film effectively portrayed the urgency of the bombs while offering additional explanations that allowed John to act alone. Although it pushes the boundaries of reality, the movie manages to convince us enough that we rarely question this choice.

Each scene in the movie builds up to an exciting climax, brimming with thrilling stunts and enjoyable action sequences. However, there are instances where the plot seems to conveniently contrive events, such as when McClane miraculously launches from a flooding underground aqueduct, soaring fifteen feet into the air next to Zeus who was driving on a parallel road at the same time. While the likelihood of this occurring is slim, the movie’s pace necessitates such improbable events to avoid slowing down and allows McClane to continue his journey without much delay. I can overlook these moments with a bit of indulgence.

This movie is both intelligent and absurdly entertaining. It takes its time to establish its own world. It allows for the main characters to interact and build off each other. Die Hard with a Vengeance seems more dynamic and skillfully made than any previous film in the series. Plus, I’m glad they eliminated the annoying police character who always hindered John’s progress! I must say, I appreciate that change.

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2025-02-04 00:30