It may seem like ludicrous pulp cinema to most people but in reality it is one of the more influential Hollywood movies of all time. This redesigned the action film template and gave the genre a well needed shot in the arm.

The story is a lesson in simplicity, haggard cop John McClane goes to visit his estranged wife in a downtown skyscraper. Just after he enters the building it is taken over by a gang of international terrorists. McClane, trapped inside must fight the terrorists in order to save his wife who has been taken hostage. The script by Jeb Stuart and Steven E. de Souza is almost perfect in its execution. It is a taut, clean script and is a must read for anyone looking to write their own screenplay.

Bruce Willis was a household name by this time in his career thanks to his work on the show Moonlighting. This film cut him as an action hero and formed the rest of his career. His snide reading of the role gave the film the sarcastic personality that kept the movie from being taken too seriously.

Even if you've seen this before, it's worth pulling out and watching again. It has dated surprisingly well.


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Labels: Alan Rickman, Bruce Willis, classic, film, movie review

Short Review: Serious and heartfelt, this movie wants to inspire and does just that.


This is a good movie, however, it lacks visual strength and style. Additionally, the script is at times a little flat. Despite these weaknesses, the topic is riveting and Alan Rickman and Mos Def offer performances that compensate for the weak points of the script. The story involves a large amount of medical drama, which in many cases doesn’t translate well to screen. Thanks to the performances, this one manages to be worth while.

Cardiologist Dr. Alfred Blalock’s (Rickman) and Vivien Thomas’ (Mos Def…or is that Mr. Def?) work to find a cure for “blue babies” and invent bypass surgery along the way while living under a segregated society. I give this film credit for one thing, it didn’t pander once. In films about race it is very easy for the filmmakers to treat the audience either like: a) children who need to be told to love one another or b) viciously racist children who need to told to love one another. Often filmmakers make the mistake of assuming the general audience hasn't moved in their views on race since the time prior to The Civil Rights Era. This film also lacks something that is in the DNA of most films involving race relations – the proud white liberal who comes to save the day for those hapless oppressed blacks. This is most obvious in Civil Rights Era pieces such as Ghosts of Mississippi. African American are oppressed by overweight white Southern crackers and white East-coast liberals sweep in and beat back the ugly head of racism. We can’t get big films made about Medgar Evers but we have a dozen celebrating the underdog civil right court battles of New York liberal lawyers.

I am way out in left field. Let me come back.

Mos Def (a.k.a. Dante Bezé, Bizet Dante, Smith Dante, MosDef, Dante Terrell Smith, Dante Smith and/or Black Star) is in full effect in this movie and brings a heart to the piece that would otherwise be missing.

The film will certainly will be forgotten as time goes on but that shouldn’t discourage you from seeing it. There is some good being done in this film, it just isn’t resounding.


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Labels: Alan Rickman, film, Mos Def, movie review

Screenwriters: Jody Savin (Witchcraft), and Randall Miller (Bottle Shock)
Director: Randall Miller (The Sixth Man)
Actors: Alan Rickman (Die Hard), Bryan Greenburg (The Perfect Score), Mary Steenburgen (Parenthood), Shawn Hatosy (Alpha Dog), Bill Pullman (Zero Effect), Danny Deveto (Hoffa), and Ted Danson (The Onion Field)

Labels: Alan Rickman, Bill Pullman, Bryan Greenburg, film, Mary Steenburgen, movie trailer