Die Hard with a Vengeance

A boring mess lacking action, where John McTiernan buried both his career and the basic storyline of the entire Die Hard franchise. Both the first and second films were about an individual fighting against overwhelming odds, the first one in a skyscraper, the second one in an airport. Some details different, Renny Harlin is slightly better with action, but otherwise it's essentially the same thing. But this attractive trademark gets completely sidelined in the third installment, and in an effort to be eye-catching and different, the director throws together everything possible. He turns the city upside down, offends the black community, he even has “helper” Samuel L. Jackson (which, cool as it may be, he’s just unfitting here) and the main villain Jeremy Irons is simply embarrassing. There is a lack of action and it can't be compared to the second film. The least of the problems are the many gimmicks in the convoluted plot (suddenly someone comes up with something and miraculously it always works), the dream-like stunts (how could someone survive a 10-meter fall onto an iron container) and the dull visual effects (water in the tunnel). (2007-04-23)

I enjoyed it just as much as the second one, mainly because we are returning to the events of the first movie. Jeremy Irons could easily be the film brother of Alan Rickman, both are excellent villains. The city, which is a much bigger playground, suits John and he knows how to maneuver here. Samuel L. Jackson is a good sidekick. (2014-04-15)

Riveting ride! I didn't believe that the Die Hard franchise could offer a better film than its original, but I was terribly mistaken, as this entertained me even more. The third installment returned to its roots and John McTiernan once again took the director's chair, which was definitely the right move. The film has no slow start, from the very beginning it sets an incredible pace that doesn't falter for the full two hours. Bruce Willis is still in top form and is successfully supported by Samuel L. Jackson, who unwillingly becomes his sidekick in the fight against terrorists. In previous films, we were used to seeing McClane mostly working solo, so it was a pleasant change to add a partner for him, especially when it's none other than the "Bad Motherfucker" Samuel L. Jackson. He is the main element that took it up a notch. The chemistry between McClane and Zeus works perfectly, both of them deliver one legendary line after another and even manage to solve some riddles or complete tasks to prevent bloodshed. Die Hard with a Vengeance I thoroughly enjoyed and I can't think of anything negative to write about it. Everything here works just as it should. (2020-01-09)

"Simon's going to tell Lt. McClane what to do, and Lt. McClane is going to do it." Unlike the first two, Die Hard With a Vengeance isn’t set at Christmas time and, after Los Angeles and Washington, tries its luck in New York. The position of director was taken up again by the tried and tested maker of part one, John McTiernan and, instead of being cooped up in a skyscraper, this time we career around one of the largest cities in the USA. The story harks slightly back to part one, but in a completely different style than to what we were used to in previous Die Hards. Even Willis’ McClane is more like Joe Hallenbeck from The Last Boy Scout. And we also have Sam Jackson, who is excellent as McClane’s involuntary partner. Plus, the original dubbing on the VHS is almost as perfect as the dubbing of the cult Pulp Fiction and wisecracks are reeled out left right and center. (2006-07-14)

Very strong 4*. It’s very nice to see the way this (at the time) trilogy developed. The first one is a thoroughbred “one vs everybody” 1980s action flick with old-school practices, boosted by a new breed of reluctant hero and an original closed space. The second one also relies exclusively on McClane and combines “survival” action with the genre experimentation of the 90s and high production values in an amusing way. The third one is an even more easygoing buddy movie, where Willis is still that “dolt” from the 80s and Jackson represents the wisecracking black character, famous from The Last Boy Scout and even Pulp Fiction. And it all works together very well, the story delivers action entertainment non-stop (what’s most interesting is the total absence of exposure and the introduction of new characters), the only weakness is that by the end is not as bold as at the beginning (the escape from an exploding boat couldn’t be more tired and the ending lacks ideas and creativity). But the pace is great, gradually dividing the action among several groups of characters, this time with a quick change of key locations. In terms of humour, this is hands down the best episode, but, as a representative of the traditions of pure action, it lags a little behind the first two. 85% (2019-04-18)