Plot

Iconoclastic, take-no-prisoners cop John McClane, for the first time, finds himself on foreign soil after traveling to Moscow to help his wayward son Jack – unaware that Jack is really a highly-trained CIA operative out to stop a nuclear weapons heist. With the Russian underworld in pursuit, and battling a countdown to war, the two McClanes discover that their opposing methods make them unstoppable heroes.

Rating

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Movie Reviews:
  • 50
    Philadelphia Inquirer - by Steven Rea
    For all its mayhem, for all the smashing windows and kabooming fireballs, the grenade launchers and giant helicopters, A Good Day to Die Hard not only fails to top its predecessors, it also forgets the basic Die Hard rules. ...

  • 50
    ReelViews - by James Berardinelli
    We have entered generic action movie territory and the idiosyncrasies that made the series special at the outset have been leeched out, papered over, or turned into obligatory inserts. ...read more

  • 50
    Christian Science Monitor - by Peter Rainer
    If there is to be a sequel to this thudding slab of cacophony, why not just go all the way and make John McClane a superhero? ...read more

  • 50
    Variety - by Peter Debruge
    Willis still packs that rapscallion charm, balancing his wisecracking, reluctant-hero shtick with the unstoppable, all-American quality that earned the original film its title. But the chemistry between him and Courtney is nonexistent, with the younger thesp, who makes co-star Cole Hauser look expressive, adding so little to the equation, one can only hope the studio doesn't plan to pass the franchise on to him. ...

  • 50
    St. Louis Post-Dispatch - by Joe Williams
    To paraphrase a classic of Reagan-era cinema, A Good Day to Die Hard is a bad day to stop sniffing glue. ...read more

  • 50
    Arizona Republic - by Bill Goodykoontz
    While some of the sequels have been entertaining enough, A Good Day to Die Hard signals that it may be a better day for John McClane to retire. ...

  • 42
    Portland Oregonian - by Stephen Whitty
    At this point, "Die Hard" no longer describes the franchise. It describes the fans who are still willing to turn out for the noise and nonsense. ...read more

  • 42
    The A.V. Club - by Scott Tobias
    Until now, the sequels have gotten away with the cynical franchising of John McClane, but A Good Day To Die Hard, the worst entry in the series by far, exposes the hollowness and stupidity of McClane 2.0. ...read more

  • 40
    The New Yorker - by Anthony Lane
    I hesitate to ask, but did anyone actually tell McClane, before he arrived, that the Cold War is over? ...read more

  • 40
    The Guardian - by Xan Brooks
    I don't think it knows where it's going. I'm not even sure it cares. ...

  • 40
    Total Film - by Neil Smith
    “That was exciting!” says Willis after he and Courtney survive a 20-storey leap through a plate glass window. “Want to go again?” Frankly, Bruce, we’re fine to leave it here. ...read more

  • 40
    Empire - by Kim Newman
    A few reasonable action sequences are mired in family soap, making this A Good Day To Call It Quits. ...read more

  • 40
    Austin Chronicle - by Louis Black
    Australian actor Courtney does the honors as the younger McClane, skillfully matching Willis in action sequences, one-liners, and more extended repartee. ...read more

  • 38
    Boston Globe - by Ty Burr
    There are two problems with A Good Day to Die Hard: It’s terribly filmed and nothing in it makes any sense. ...read more

  • 38
    Chicago Sun-Times - by Richard Roeper
    Like the Bond movies, the "Die Hard" films thrive on brilliantly wicked villains. In this edition, we barely know which bad guy is the main bad guy. The script is filled with heavy-handed dialogue about parents and their children, framed by well choreographed but generic action sequences. ...

  • 38
    USA Today - by Claudia Puig
    The best thing about A Good Day to Die Hard is its title. ...read more

  • 38
    Chicago Tribune - by Michael Phillips
    Isn't just the weakest of the "Die Hard" pictures; it's a lousy action movie on its own terms. ...read more

  • 37
    Washington Post - by Ann Hornaday
    Both assaultive and tiresome, A Good Day to Die Hard barely registers on the action movie Richter scale. It goes bang, it goes boom, and then it blessedly goes away. ...

  • 33
    The Playlist - by Rodrigo Perez
    A Good Day To Die Hard isn’t dead on arrival because that would suggest it has a pulse. ...read more

  • 30
    Slate - by Dana Stevens
    The absence of a single noteworthy villain is perhaps this movie’s most salient flaw (along with the jumbled, barely coherent editing of a seemingly endless chase through a Moscow traffic jam). ...read more

  • 30
    Time - by Richard Corliss
    It’s the lamest and most vacant of the quintet — though if you mistakenly think you’re buying a ticket to a demolition derby instead of a night at the movies, you’ll feel right at home. ...read more

  • 30
    The Hollywood Reporter - by Todd McCarthy
    Unfortunately, John Moore has directed these sequences in a way that makes the incidents look so far-fetched and essentially unsurvivable that you can only laugh. ...read more

  • 30
    The New York Times - by A.O. Scott
    Everything that made the first “Die Hard” memorable — the nuances of character, the political subtext, the cowboy wit — has been dumbed down or scrubbed away entirely. ...

  • 25
    Miami Herald - by Rene Rodriguez
    Time to give the shoot-’em-up thing a rest, guys: It’s tired and played out, and so are you. ...read more

  • 25
    Rolling Stone - by Peter Travers
    Ah jeez. I actually wanted this one to be good. Or at least decent. Or at least a reminder of what got us all fired up about the first Die Hard in 1988. But A Good Day To Die Hard, the fifth in a creatively exhausted series, is total crap. ...read more

  • 25
    New York Post - by Lou Lumenick
    Actually, Bruce, what stinks is the script — which is woefully lacking the kind of one-liners and memorable bad guys that helped make working-class hero McClane so iconic he’s still around after 25 years. Even the action sequences are pretty much by the numbers this time. ...

  • 25
    Slant Magazine - by John Semley
    The film feels like it was reverse-engineered from its "Yippee Ki-Yay Mother Russia" tagline, a wholly generic international actioner barely distinguished by the presence of Bruce Willis's banner hero. ...read more

  • 20
    New York Magazine (Vulture) - by David Edelstein
    A Good Day to Die Hard is the opposite of a labor of love. It has no good lines, no crackerjack fights, and only one mildly orgasmic revenge killing. It will satisfy no one — high-, low-, or middlebrow. Die Hard is finally in its death throes. ...read more

  • 20
    Salon.com - by Andrew O'Hehir
    Pretty much three well-staged action sequences strung together with the dumbest imaginable connective tissue. ...read more

  • 20
    Time Out New York - by Keith Uhlich
    We’re a long way from this shoot-’em-up franchise’s John McTiernan–helmed heyday. Willis gives one of his laziest ever performances, leadenly tossing off each quip (“I’m on vacation!” is the most abused) and acting like he’s passing a kidney stone during the bathetic father-son bonding scenes. ...read more

  • 20
    New York Daily News - by Joe Neumaier
    Ultimately, even more than 2007’s “Live Free or Die Hard,” “Good Day” never lets McClane be McClane. Gone is his taunting snark and quick-witted preparedness; instead he seems like a jerk with a thing for guns. ...read more

  • 16
    Film.com - by Laremy Legel
    The entire enterprise is a bewildering mess, put in place only to frustrate and alienate anyone who buys a ticket. Every action scene is telegraphed, and most of the dialogue is irrevocably stupid. ...read more

  • 10
    Wall Street Journal - by Joe Morgenstern
    For anyone who remembers the "Die Hard" adventures at their vital and exciting best, this film feels like a near-death experience. ...

Movie images
User Comments & Reviews

  1. Liana Shimunova

    Empty, ugly and dumb, a grim and cynical exercise in death and destruction.