In 1938, after his father Professor Henry Jones, Sr. goes missing while pursuing the Holy Grail, Professor Henry "Indiana" Jones, Jr. finds himself up against Adolf Hitler's Nazis again to stop them from obtaining its powers.
A seemingly indestructible robot is sent from 2029 to 1984 to assassinate a young waitress, whose unborn son will lead humanity in a war against sentient machines, while a human soldier from the same war is sent to protect her at all costs.
John McClane travels to Russia to help out his seemingly wayward son, Jack, only to discover that Jack is a CIA operative working undercover, causing the father and son to team up against underworld forces.
Ellen Ripley is rescued by a deep salvage team after being in hypersleep for 57 years. The moon that the Nostromo visited has been colonized, but contact is lost. This time, colonial marines have impressive firepower, but will that be enough?
After a space merchant vessel perceives an unknown transmission as a distress call, its landing on the source moon finds one of the crew attacked by a mysterious lifeform, and they soon realize that its life cycle has merely begun.
NYPD cop John McClane goes on a Christmas vacation to visit his wife Holly in Los Angeles where she works for the Nakatomi Corporation. While they are at the Nakatomi headquarters for a Christmas party, a group of robbers led by Hans Gruber take control of the building and hold everyone hostage, with the exception of John, while they plan to perform a lucrative heist. Unable to escape and with no immediate police response, John is forced to take matters into his own hands.Written by
The line "Yippee-ki-yay, motherfucker!" is used in all Five Die Hard movies (this one, Die Hard 2 (1990), Die Hard with a Vengeance (1995), Live Free or Die Hard (2007), (although a gunshot masks the 'fucker' part in the PG-13 cut, it is heard in the unrated version) and A Good Day to Die Hard (2013)). It also translates in Urdu to "here eat this." The line was voted as the #96 of "The 100 Greatest Movie Lines" by Premiere in 2007. See more »
When McClane is having a gun fight on the roof of the building he slides down a slide with his machine gun in the right hand; the next shot he has the gun in the left hand. See more »
You don't like flying, do you?
What gives you that idea?
You wanna know the secret to surviving air travel? After you get where you're going, take off your shoes and your socks then walk around on the rug bare foot and make fists with your toes.
Fists with your toes?
I know, I know, it sounds crazy. Trust me, I've been doing it for nine years. Yes sir, better than a shower and a hot cup of coffee.
[the businessman sees John's gun]
It's okay, I'm a cop. Trust me, I've been ...
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In the widescreen version, the 20th Century Fox logo is stretched. See more »
The FX Channel adds a scene prior to the electricity-controlled opening of the vault. In it, the city engineer pulls the plug locally, but even though the power goes off, the electromagnetic seal still holds. After realizing the building has alternate power sources, Hans orders Theo to "annoy them", which leads Theo to type in commands to turn the power back on. The lights come back on, where Special Agent Johnson (Robert Davi) tells the city engineer to shut the whole grid down. A quick black-and-white frame flashes before it rejoins the original footage. See more »
There was a moment in an early scene of Die Hard when John McClane (Bruce Willis) is having an argument with his wife Holly (Bonnie Bedelia) in the executive washroom in Ellis's office. It's scripted so that the two of them end up talking over each other about what McClane's idea of their marriage is, and it's such an honest depiction of estranged spouses that I find myself forgetting what movie I'm watching when I get to that part.
Granted, not everyone has a terrorist takeover of their office building to teach them not to take each other for granted, but it works here.
That scene is one of the great things about Die Hard, not because it contributes anything to the action, but because it contributes everything to the characters. Most action films before and after this seem violence-driven, but this one manages to balance the humanity of its protagonist, and I can't even begin to measure how much of that balance comes from that one scene.
I think the other thing that most defines the spirit of this movie is McClane's shoes. It's such an obvious contrivance, set up right from the beginning, but it's worked into the entire story so artfully that I have completely forgiven it every time I've seen the film. Of all the bad luck, to be caught in the middle of a terrorist attack and then have to chase the bad guys around a 40-story building, all without shoes.
But, as McClane himself says, it's "better than being caught with your pants down." I know how much of the plot and the action hinges upon luck, timing, strong fingertips, and the Rube Goldberg machinery of the FBI-terrorist interplay, but I really don't care. I still get caught up in the nervous moments of this movie 18 years later. I still ache along with McClane as he pulls a three-inch piece of glass out of his foot in the emergency lighting in the bathroom. And I still root for him to get the bad guy, rescue his wife, save his marriage, and meet Al Powell even though I must have scene this movie 30 or 40 times already, and I know he's going to do it again the next time.
This is a great film, and easily the best written and best executed action movie I have ever seen. But more to the point, and more importantly, it's a fun movie to watch, no matter how many times you see it.
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