Author: Crossfire

20th Century Fox
Out Now

Ah, Detective John McClane the reluctant hero is back to drive retribution into the faces of bad guys everywhere; bloodied, battered and not a moment too soon. For all those planning on dismissing this film because its predecessors were good enough, allow me to tell you that this film is better than Die Hard 2 and 3 in all their 90’s glory.

Needless to say I was slightly anxious when I entered the screening. All my childhood memories of Bruce Willis kicking foreigners out of skyscrapers, off boats and such left me in such anticipation I almost wet myself.

Let me quickly summarize; McClane unwillingly picks up a local hacker, with the intention of handing him over to some important government agents, chaos and confusion develops, and suddenly it’s the technical apocalypse of America. While America is returning to the dark ages, McClane alone must stand against the mastermind hackers, lead by ex-FBI intellect Thomas Gabriel, and trash their fantastic plan to destroy the United States technical, economical and national utility power, (OH NO a firesale!).

Matt the local hacker is unwillingly dragged into the mess as a sort of digital-nerd aid to McClane. The unlikely duo quickly become allies working together; as brains and brawn, new and old, chalk and cheese, and other appropriate opposites. Ready to stop this silly Internet thievery with brute strength, some guns, a bag of gizmos and a couple of trusty automobiles, they create an endearing pair. Their banter is cheesy and clichéd throughout, but in that charming manner which Die Hard would be empty without.

The action sequences are skilfully done, running with perfect narrative smoothly leaping from high-speed car chase to fist fight to explosive air displays. There are a few laughable and improbable moments. At one point McClane is mid-fight with Mai, (Gabriel’s hot sidekick) and not being bothered by chivalry punches her in the face once or twice, when he is thrown out of a window. Minutes later as Mai is holding Matt at gunpoint, McClane drives a car into the room ready to plough into her, forcing her down an empty lift shaft. How the hell did he know it was there? Was he driving the car around the corridors, looking for the right door?

There were also points that made me want to vomit but they were unavoidable, speeches of heroism and being “that guy”. Luckily though they were few and far between, interspersed with guns and fights and sleek computer monitors.

I don’t want to compare it to the previous Die Hard films, but its impossible not to. Die Hard 4.0 doesn’t have the same wit and ultra violent action as the first, nor does it have the blood and profanity of the other two, but it is an over the top, extremely slick adrenalin fuelled ride, guaranteed to make you look like a twat as you leave the cinema with a massive fucking grin on your face.

Emily Paget

www.diehard4movie.com

Die Hard 4.0 trailer

Warner Brothers/Paramount Pictures
Out Now

David Fincher (Fight Club, Seven) has brought the “Zodiac” killings back to the big-screen in his intelligent “whodunit” thriller, based on the real 1970’s San Francisco killings.

Zodiac is based on the unusual chain of murders that took place over 30 years ago executed by a mystery assassin who used clues and riddles to bamboozle the public and police alike, killing more victims if the code was not cracked.

I thought it was wise of Fincher to choose against filming through the eyes of the killer, and instead to focus on the lives of the three main men investigating the crime, and how the case altered and possibly formed the future for them.

Robert Graysmith is the eager cartoonist, recently hired by the local paper, David Toschi is a local detective unable to escape the case, and Paul Avery is the newspapers flamboyant crime reporter.

I found that the film ran with an obscure time flow; it passes quickly but nothing really happens. When time did pass, it passed fluidly from hourly to yearly periods, imaginatively using the development of the San Francisco skyline as a clock.
The structure worked fantastically for the film though and considering it was shot entirely on digital, it possess a beautiful musty Seventies feel. The unpretentious style worked well, bleaching out the brash colours, and giving the darker ones a grainy detail. Also I have to mention the soundtrack; which is so perfect you don’t even notice it, its ambience flowing throughout.

Zodiac to some extent reminded me of Cronenberg’s ‘History of Violence’, with its beautiful, simple cinematography gently juxtaposed with its overwhelming realistic violence. I found the violent scenes quite uncomfortable to watch, the brutality of watching a knife penetrate actual flesh over and over again was quite convincing.
I found myself connected to the plot, characters and the period. You don’t have to be smart to understand the narrative but it is challenging. This is afterall, more of a dark detective thriller than a killer film; concentrating on the relationships formed and destroyed during the hunt for the elusive killer. Zodiac is a bold, beautiful and refreshing piece of modern cinema that I would recommend to anyone.

Emily Paget

www.zodiacmovie.com

Zodiac trailer