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Date Posted: 14:19:19 06/03/01 Sun
Author: Rich
Subject: Hey Grigg, did you buy The Sunday Times with the free U2 CD, you sap? Don't worry if not, I got it to cover your back, I'll post it to you...

Bloody Hell! It's a review!!

DIE HARD WITH A VENGEANCE (1995)

No title quote, sorry.

While the original is the better film (****), Die Hard With A Vengeance is probably the most accessible for those who (myself included) aren’t all that enamoured of the series’ high-octane claustrophobia.

Vengeance opens out the formula and has the added addition of Samuel L.Jackson, graciously not acting Bruce Willis off the screen. Plotless even by Die Hard standards, it ambles aimlessly around the flimsiest of set pieces, while all the support characters are underwritten clichés.

Yet, while the weakest of the three Jackson-Willis movies (There’s a great Pulp Fiction in-joke) the team are as always imminently watchable. Willis’s balding McClane seems less noble than before, indulging in mass murder with little or no remorse. Yet his new, less applied acting technique suits the hungover characterisation well.

There are some magnificently staged explosions, whole sections of New York being reduced to rubble and hurtling trains. I remember seeing this one at the cinema, with a bored, snooty-sounding man loudly shouting "10-9-8-7-" as if in criticism of the film’s single-minded dynamic. Thankfully, he then got up and walked out, leaving the rest of us to enjoy this dumb pyrotechnic show in peace.

Jeremy Irons, working with a German, and, briefly, American accent – both rubbish – seems to be having fun, yet no one else is when he’s on screen. A good actor wasted in an underdeveloped role, the scenes where he robs the Federal Reserve Bank particularly drag, causing the film to ground to a halt at the halfway point.

After this, little attempt is made to resuscitate it. When the basic set up of contrivance and irrelevance has faded, the final third seems to go into free-fall. The microscopic plot collapses before the end, relying more than ever on time-killing chase sequences to reach the runtime.

Yet while it may falter, Jackson’s racist Zeus – an unusual characterisation in mainstream cinema – keeps things ticking over. If nothing else, this is the only movie in the trilogy that opens with The Loving Spoonful’s Summer In The City.



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