Cameron was a relative newbie at the time, having previously only directed The Terminator, but he took to big-budget work with gusto. Where before there was endless deep-space dread and grimness, now there was fully fledged big-screen action. He just said “Screw that subtlety shit” and went big on explosions, big on aliens, and let the guns (and mech-robots) do the talking. When James Cameron stepped into Ridley Scott’s space-horror boots to direct the sequel to the brilliant Alien, he didn’t try to ape the sickening, paranoid, slow creep of the original. The killer scene: Ripley straps into a Power Loader suit to destroy the alien queen. Yippie-ki-ay, indeed.- Tom HuddlestonĬast: Sigourney Weaver, Michael Biehn, Bill Paxton But of course, the blue-ribbon winner in all this has to be Bruce Willis, who crashed from nowhere (well, from TV’s Moonlighting) onto the world’s stage, thanks to a combination of antiheroic self-mockery, battered but unbowed machismo and one very grubby T-shirt. The script is crammed with humor and invention, and whoever came up with the idea of setting it at Christmas deserves a big medal.
John McTiernan’s direction pulls no punches, and there are sequences here-like the oft-imitated, never-bettered swinging-through-a-window-on-a-firehose moment-that achieve something close to visual poetry. That said, even the highest of concepts will only work if all the elements are right, and Die Hard is a textbook case of everything falling into place. It’s little accident that, in the wake of the film’s success, clones sprouted up like toadstools almost overnight, from Die Hard on a boat ( Under Siege) to Die Hard on a bus ( Speed) and this year’s Die Hard on a musical instrument ( Grand Piano). Admittedly, there are precedents- Assault on Precinct 13 must have been an on-set favorite-but no one had told this tale with such streamlined precision before.
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Their only hope is a man locked in with them, yet free to roam, a lone hero who must pick off the bad guys one by one, arcade-game–style, until he reaches the Big Boss. The story is so ingenious, it’s incredible no one had thought of it before: A group of terrorists invades a state-of-the-art skyscraper and takes the inhabitants hostage. We want speed and intensity, wit and wisecracks, cartoon violence and things going boom. We don’t want to see ourselves reflected, we don’t want understanding or honesty or intellectual insight. If cinema is the perfect escapist medium-and until someone invents a virtual-reality device that works, it will be-then action movies are its purest expression, the best way we know of for humanity to shake itself loose from the trappings of humdrum reality and take to the ether. It isn’t exactly what pseuds would call High Art.Īll of which is precisely the point. It doesn’t offer much insight into the human condition (though the image of Bruce Willis walking on broken glass could be taken as a poignant metaphor for life’s little brutalities). But does Die Hard really fit the bill? It doesn’t have anything to say about the state of the world. The killer scene: Alan Rickman’s final tumble: iconic, nostalgic, slightly-shoddy-effects–based glory. 🥋 The 25 best martial arts movies of all-timeĬast: Bruce Willis, Alan Rickman, Bonnie Bedeliaīest quote: “Now I have a machine gun. 🌊 33 great disaster movies that’ll have you running for cover Written by Eddy Frankel, Eddy Frankel, Joshua Rothkopf, Trevor Johnston, Ashley Clark, Grady Hendrix, Tom Huddleston, Keith Uhlich, Dave Calhoun, Phil de Semlyen, Dave Calhoun & Matthew Singer Just be warned that your hand may experience some soreness from all the high-fiving you’re likely to do while watching. Light that fuse, clip that wire and batten down the hatches – these are the most pulse-pounding, heart-racing, edge of your seat thrill rides ever put to film. Time Out ’s critics have weighed in, too. To put together this definitive list of the greatest action movies ever made, we polled over 50 experts in the field, from Die Hard director John McTiernan to the actual folks in the line of fire, such as Machete himself, Danny Trejo. Shoot, some even have character development. Others might dropkick you right in the heart. (To be fair, Bay does have some bangers, including one on this list.) But action flicks needn’t be dumb or epic or even particularly loud to succeed.
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The problem is that the genre has been co-opted by the likes of Michael Bay and a stream of hacks who think that big explosions are the only thing a movie needs.
After all, film is meant to make you feel something, and the best action movies will quite literally make your chest rumble – usually because something big just exploded. Art school snobs and hardcore cineastes may turn their noses in public, but the truth is, deep down, everyone loves a good action movie.
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