Live Free or Die Hard (2007)
Director: Len Wiseman
Cast: Bruce Willis, Justin Long, Timothy Olyphant, and Cliff Curtis
Rated: PG-13
Runtime: 130 min.
by Brian Eggert
Reviewed:
6/27/2007
Original Release Date:
6/27/2007
Sequels generally attempt “bigger and better” as a rule; any amazing special effects or stunts from previous films are the minimum standard from which writers endeavor to outshine. With action movies, this process often results in an apparent concern with pyrotechnics, as opposed to story; formerly strong characters falter amid glorious, yet meaningless explosions. Such was the case with Die Hard 2: Die Harder. The 4th film in the Die Hard series, Live Free or Die Hard, could be accused of similar crimes, except it’s so damn entertaining. Bruce Willis returns, almost twenty years after originating the part, to detective John McClane, the role that made him a star. Characterized by his wise-cracking, cynical, vulnerable human nature, Willis’ McClane has changed little through four movies, which is why his character remains dependable, and why, for the most part, this franchise has succeeded creatively.
Usually in the wrong place at the wrong time, here McClane curiously finds himself on the job, protecting computer hacker Matt Ferrell (ironically played by Apple spokeman Justin Long) from a group of cyber-terrorists. These terrorists are executing hackers all over the U.S. in order to prevent anyone computer-savvy enough from stopping their leader’s master plan: a firesale—meaning all utilities, financial records, energy sources, and personal information will be corrupted or erased, sending America back to the Stone Age. This time, terrorists are fronted by disgruntled former U.S. computer-defense agent Thomas Gabriel, played by HBO’s Deadwood star Timothy Olyphant. He may not have the brilliance of Hans or Simon Gruber (Alan Rickman and Jeremy Irons in the first and third films respectively), but there’s an inferno in Olyphant’s eyes. His character tries so desperately to maintain control; meanwhile, McClane spoils well-laid plans, revealing Olyphant’s nervous-infuriated-scared-livid intensity. He delivers lines with a creepy calm, rarely raising his voice and never losing direction over his menacing tone. McClane, of course, throws down his usual jokes, but in fewer doses than previous Die Hard entries. Justin Long provides nerdy-but-humorous commentary throughout, leaving Willis’ performance rather stale in comparison to the earlier Die Hard films. McClane’s New York accent is all but gone. His penchant for F-bombs has disappeared. There’s no smoking or drinking, no motherfuckers or shitheads. Hell, McClane's even missing his hair.
If you had questioned whether the PG-13 rating scandal would affect the film (all three previous Die Hards were rated R; this one took a safer rating for commercial reasons), even with Bruce Willis’ preemptive defense on Aint it Cool News, it has. I didn’t think a few swear words would matter, but their absenteeism from the final cut seemed awkward. I understand Hollywood’s desire to expose McClane to a younger teenage audience (who would have snuck in anyway) otherwise too young to have seen the first three movies in the theater, thus selling more tickets and making more money. But why change the nature of a franchise to sell some tickets?
Given McClane’s traditional foul-mouthed taunting of terrorists via walkie-talkie or telephone, when he finds his daughter has been kidnapped by Gabriel’s gang and not one “fuck” or derivation thereof is uttered, we realize something has changed. Whatever caused that change is unexplained in the script. Maybe he found religion. Maybe he’s out of change for the swear jar. Whatever the reason, Willis downplays McClane’s energy. Perhaps it can be explained by McClane's old age or perhaps by Willis'. Sadly, even with an unrated DVD reincorporating any cut F-words, Live Free or Die Hard would still cease to contain the same McClane-isms as the original and With a Vengeance.
Furthermore, its lacking claustrophobic scheme isn’t with what we know as Die Hard-esque, but if you think about it, none since the first in this series have really embraced the man-alone-against-terrorists-in-confined-space plotline. Die Hard 2 gave McClane an entire airport from which he could walk away at any time. With a Vengeance gave all of New York City for McClane to chase bad guys in. Live Free or Die Hard has McClane traveling all around the East coast; claustrophobia only appears as a concept, such as it did in With a Vengeance. McClane is limited not by a physical infrastructure such as Nakatomi Plaza, but by the lack of transportation in With a Vengeance, or the lack of technology in Live Free. Unable to use cell phones and exposed by cameras connected to computers, McClane has nowhere to hide from Gabriel’s cyber thugs.
Coherent music throughout might have helped this sequel retain the consistency of the first and third films. Die Hard offered Michael Kamen’s version of “Ode to Joy” throughout; With a Vengeance sustained the Civil War tune “When Johnny Comes Marching Home”—each grant their particular film a musical pulse. Instead, the music here is as inconsequential as Die Hard 2, which is surprising, as Live Free’s trailer boasted an electric guitar version of ”Ode to Joy” recalling both the first Die Hard and Hendrix’s version of “The Star-Spangled Banner” (how I wish that would have been this film’s musical piece throughout!).
Based on the script “WW3.com” by Enemy of the State screenwriter David Marconi, Live Free does what With a Vengeance did with “Simon Says,” only with less success in amalgamating into the franchise’s temperament. Rewritten by Mark Bomback, it’s unfortunate that the script lacked a better understanding of McClane, since the raw action and terrorist plot-turned-heist subscribes with what we think of as “Die Hard” material. Directed by Underworld helmer Len Wiseman, the film’s actions scenes have energy, but his players need inspiration. Though not even John McTiernan, director of Die Hard and Die Hard With a Vengeance, could have saved this film—not without a rewrite reestablishing McClane’s more potent qualities.
Right about now it may sound like I didn’t really care for Live Free or Die Hard, but admittedly, I was entertained. It provides some of the best summer-movie escapism this year—a year, for me, filled with many disappointments. This is another disappointment to be sure, but only in a mild sense that didn’t prevent me from enjoying the massive action scenes, which involve all sorts of airborne vehicles and colossal explosions. But if you change McClane’s name to Bob Johnson and omit the one or two McClane-specific references, you have a solid action movie with amazing special effects and timely post-9/11 story, just nowhere near the characterization of a Die Hard movie.
More from this series:
Die Hard (1988)
Die Hard 2: Die Harder (1990)
Die Hard With a Vengeance (1995)
