Si, me gusta ‘Casa de mi Padre’…y, no lo siento

Casa de mi Padre (2012)

Directed by Matt Piedmont

7/10  R

When I bought “Casa de mi Padre” barely used on Blu-ray at a flea market for $2, I had no intention of enjoying it. I bought it simply because it was so cheap. I was mucho wrong about not enjoying it. I hate being wrong, but I was. I guarantee I’ll lose about half of the people reading this right now simply because they can’t possibly imagine any comedic potential for a Spanish-language dramedy starring Will Ferrell. I didn’t either. Then I watched it.

“Casa de mi Padre” begins like a Mexican twist on the tale of the prodigal son. When suave Raul (Diego Luna) returns to the humble ranch of his padre (Pedro Armendariz Jr.), he’s met with open arms. That is, until his envious brother Armando (Will Ferrell) sees the beautiful fiancé (Genesis Rodriguez) he brought home with him. Then, when Armando discovers that his ranch is being overrun by drug cartels, he and his friends take action. But secrets of Raul and his fiancé lead Armando to question whose side they’re really on. Could Raul really be tight with a bad crowd? Will their father begin to see the truth? With whom will Raul side? This is one Mexican stand-off you don’t want to miss.

Doesn’t sound that bad, right? It’s part murder-mystery, part drama de familia, part shoot-em-up gangster flick. Unfortunately, they had to taint it with a failed attempt at comedy. But humor only veils the exciting story that lies behind it. And, actually, the story is pretty good. By the end, I hardly realized that I was reading subtitles because I was so enthralled with what was going to happen next. The parallels with “Django Unchained,” actually, are pretty interesting. Both movies end in pretty impressive gunfights for the protagonist’s love interest, both have catchy original songs (that actually sound pretty similar, too)…in fact, in the special features, Ferrell actually said that he intended “Casa de mi Padre” to feel like a blend of telenovela mockery and Tarantino action. It works. The acting is overdramatic, the scene transitions are purposely terrible, the two musical numbers are kind of uncomfortable, and the set design is intentionally God-awful. It’s trying to make fun of a rich history of Mexican film and soap operas, but it really only makes fun of itself. Still, if you can look past the gimmicks (which I could after the first 15 minutes or so), it’s not bad. Ferrell, for having only high school and college-level Spanish experience, fools everyone into thinking he’s totally fluent. Anyone who has seen “Stranger than Fiction” or “Everything Must Go” knows that Ferrell can handle more serious roles. He nails this one.

It was a flawed idea that, I’ll admit, would have worked much better had it been in English, ditched the crappy production value, and starred more seasoned dramatic actors than Will Ferrell and Pedro from “Napoleon Dynamite.” But even as it is, “Casa de mi Padre” is enough to get you hooked pretty early on. I resisted it as long as I could, but pretty soon its drama and mystery was too much to fight. I wanted to know what would happen next. Eventually, even the subtle comedy started to work. It’s the little things Ferrell does that remind you why he’s such a comedic stud. He’s at the top of his game…only, now he speaks Spanish.

I had every intention to trash this movie and slap it with a low rating. But I can’t bring myself to do it. Despite all its crappy gimmicks, “Casa de mi Padre” presents a pretty universal story that’s just too sensational to resist. It’s billed as “The funniest movie you’ll ever read.” It’s silly, but it might just be right. Sorry, haters.

“Casa de mi Padre” is now on Blu-ray and DVD.

‘Luck’ lost its own luck after one successful season (TV review)

“Luck” (2011)

Created by David Milch

7.5/10  HBO

Everybody’s luck ends sometime. For HBO’s horse-racing drama “Luck,” it was after season one, when an unfortunate accident left one horse on the set dead. Still, for one season at least, “Luck” gave audiences an intriguing and exciting look at the microcosm that is the American horse racing scene.

Dustin Hoffman is in classic form as Ace Bernstein, an ex-con who tries to get back in the big-time gambling scene without breaking parole. He deals with slimy mobsters to try to integrate casinos into California’s Santa Anita race track, but whose pocket does he have his hand in? And who has their hand in his pocket? Trainers Walter Smith (Nick Nolte) and Turo Escalante (John Ortiz) continue a mini-rivalry, fighting over jockeys and track positions, as the jockeys (Kerry Condon, Gary Stevens, and Tom Payne) fight amongst themselves for the chance to ride in the biggest race. One battles addiction, another struggles to make weight. Agent Joey Rathburn (Richard Kind) finds himself in his own predicament as he contemplates his life. A group of low-down gamblers make enough to buy their own horse and deal with the struggles of owning a race horse. And in the backdrop, a series of love sagas, a couple money-driven murders, and a bunch of horses racing. Welcome to the world of big-time California horse racing.

The littlest things made “Luck” work. Cinematography, normally not a staple of TV, excels in heightening drama, poeticizing everyday routines, and showing the emotions that run through this cast like an electric charge. The music, while unusual, creates a memorable soundtrack and sets “Luck” apart. One of the biggest things that one should point out is the script. Filled with technical horse-racing lingo, itself its own language, “Luck” is hardly for someone completely unfamiliar with horse-racing, as I was. I say was, because after 9 episodes I think I know more about how horse racing works than most other people that have only watched the Kentucky Derby on TV. “Luck” educates with the best of them, but also offers a thrilling look into the complex machine that is horse racing. It assumes you’ve already taken “Horse Racing 101,” but once you get into it you start picking up on how it works. After episode 3, it’s like you’ve joined this exclusive fraternity of people that know what the characters are talking about, because you know that the first-time viewer wouldn’t understand. But until you watch it (or, you know, go to a horse track a couple times), you never will.

Hoffman is as exceptional as ever as the ex-con Bernstein. His stiff approach shows his institutionalized recent past. Ortiz demands respect as the big-shot trainer Escalante, but as you get to know him you start to like and understand him. Ortiz does a wonderful job slowly revealing his true character. Kevin Dunn, Ian Hart, Ritchie Coster, and Jason Gedrick are superb as the four bottom-of-the-barrel gambling addicts who decide to try to move up and buy their own horse to race. These amateurs get their time in the spotlight, but their careful deliberation and friendship (even when few others would even give them the time of day) are executed masterfully. Fantastic character acting.

“Luck” didn’t last very long, but that doesn’t mean you shouldn’t enjoy the one stellar season it did produce. It’s as educational as it is thrilling and emotionally charged. I’ll tell you what. Flip a coin, and then see it.

“Luck: Season 1” is on Blu-ray and DVD (I bought it brand new on eBay for $8).

‘The Great Gatsby’ is back and better than ever

The Great Gatsby (2013)

Directed by Baz Luhrmann

8/10  PG-13

Adaptations get so dreary once they become commonplace, don’t you think? Thank goodness for Baz Luhrmann, who has taken F. Scott Fitzgerald’s classic novel, adapted for the big screen four times prior, and created a bold, daring new blockbuster for today’s crowd.

A tale of love and lust, mystery and deceit, hope and tragedy, “The Great Gatsby” has been read and suffered-through for years by millions of high school and college students. It’s a classic, a literary giant. But its adaptations stayed true to form; old, slow, and stale. Luhrmann’s new take on the old tale is far from that. It’s fresh, exciting, titillating, and most of all, flashy.

It’s rare when a soundtrack receives immediate consideration in my review. But nothing about “Gatsby” made me as happy as the selection of music it offered. No Al Jolson or Louis Armstrong here. No, sir. Instead, Jay-Z (also an executive producer), Beyoncé, and Jack White all make appearances on the soundtrack. Awesome. Who better to be the background music to a Gatsby-sized New York City party than Jay-Z? The impressive selection of songs, remixed with jazz influence to really bring in the 20s, take these party scenes and make them relevant. It says, “I’ll see your weekend, Gen-Y, drunken college escapades and raise you a giant fireworks display accompanied by a full band, a shower of confetti and champagne, and a huge pool filled with conservatively-dressed ladies and giant inflatable zebras. I’ll raise you a Gatsby party.” Try to beat that. You can’t. But this soundtrack is the perfect complement for the party of the lifetime.

Nobody looked at the billing of huge stars and thought “Hmm, I don’t see the potential but perhaps they’ll surprise me.” It would have been ridiculous to doubt this impressive selection. Jay Gatsby, from his debonair introduction to the audience to his unfortunate fate, is played with sincere emotion and passion by the only man who really could: Leonardo DiCaprio. Really, though, who could possibly be so mysterious and charming as Leo? Carey Mulligan is all elegance as Daisy Buchanan, and Joel Edgerton her dark, fiery-tempered husband Tom. Tobey McGuire rounds out the cast as the narrator, Nick Calloway. If you know McGuire, you know he’s able to play a sold role without exactly stealing the spotlight. He was a great choice. They all work together fabulously. Along with Isla Fisher and Jason Clarke, the famous love pentagon is completed.

But it’s the special effects that really set “Gatsby” apart. 1920s NYC looks nothing like the Big Apple today, so they gave it a makeover. Threw it in a time machine and softened up the edges when it came out. What we get is a beautiful new metropolis, glowing and buzzing and doing exactly what the art directors want it to do. Because it’s theirs. And the live-action blends seamlessly into the CGI world around it. It’s a thing of beauty. A masterpiece. The whole thing is, really.

“The Great Gatsby” is now in theaters.

I’ll be back soon…but for now, check out these trailers!

Hey guys, sorry for the absence. I’ll be back soon to likely review “Iron Man 3″ and “The Great Gatsby,” then summer’s here and I’ll be able to watch movies without the feeling of guilt that accompanies procrastination. I promise, my return to posting every few days is imminent.

But first, check out these new trailers!

The long-awaited trailer for “Captain Phillips,” which I talked about in my last post all these long days ago, got me excited once again for Tom Hanks’ newest role as the true-life fisherman who defended his ship from Somalian pirates. True stories, Tom Hanks, pirates. #Winning. The trailer gives the movie a look I really didn’t expect. It seems subtle, understated, less dramatic and “Hollywood” than I imagined. If it were Spielberg, for instance, the John Williams score would rock my laptop speakers and the camera changes would be fast and furious. Instead, Paul Greengrass (the “Bourne” trilogy) directs, and the action is real, but not overbearing. Needless to say, I’m excited.

I hadn’t heard of “The Butler” until I saw the preview for the new trailer on IMDb. 4 Presidents: Eisenhower, Nixon, Kennedy, Johnson, Reagan. 4 actors: Robin Williams, John Cusack, James Marsden, Liev Shreiber, and Alan Rickman. 4 portrayals of American Presidents. That alone has me mesmerized. “The Butler” tells the true-life story of Eugene Allen, who served in the White House in various roles from 1952 to 1986 and had a front seat to the civil rights movement in the United States. Interesting story. I’ve never heard of him, but I want to. Forest Whitaker, Terrence Howard, Cuba Gooding Jr., Oprah Winfrey, Jane Fonda. Star-studded. Good story. TRUE story. The Weinstein Company. What more do I need to say?

Could Tom Hanks be eyeing an Oscar in 2014?

It’s been a while since Tom Hanks was at the peak of perfection. We can all agree on that, right? Sure he’s been making the rounds with politicians and royalty; he’s much more than a movie star now. But it’s been 13 years since Hanks has won any major award (a Golden Globe for “Castaway”) and 6 years since he’s gotten any major nomination (a Golden Globe nod for “Charlie Wilson’s War”). What has America’s biggest Hollywood icon been up to? He’s grown out his hair for a couple Dan Brown conspiracy novel flicks, he’s  hidden behind his voice for some animation (however great, still not what he does best), he’s thrown his money into some major projects (“Band of Brothers,” etc.), and he’s starred in a few major flops (“Larry Crowne,” “The Ladykillers”). But now, in 2013, Hanks looks like he could be in for some big roles. Trailers haven’t hit YouTube yet for “Captain Phillips” and “Saving Mr. Banks,” but by all accounts they have major potential for earning Hanks some more award nominations – if not wins. In “Captain Phillips,” Hanks will be playing the title character in the epic story of an escape from a Somalian pirate ship. In a few pictures I’ve seen, Hanks’ graying beard already has him half-way to spot-on. And have you seen the ‘stache he’s been sporting lately? That’s for his role as Walt Disney in “Saving Mr. Banks,” about the author of “Mary Poppins” (played by Emma Thompson) travelling from London to DisneyLand so that Disney can transform her book into film. The last two times Hanks portrayed real people (“Charlie Wilson’s War” and “Catch Me If You Can”), he’s been a major success. And big award shows love it when people portray real people. Of the past 13 recipients of the Academy Award for Best Actor, more than half (7) were portraying real-life people. His odds for the Screen Actors Guild award are the same. And Hanks can multiply his own odds by two. He’s virtually a lock to pick up some major nomination for some role. And I, for one, will be happy to announce his return to his former glory.

‘Rango’ re-animates the Western

Rango (2011)

Directed by Gore Verbinski

7.5/10  PG

This is a story of how a dopey domesticated chameleon tosses a traditional Western at you and then flips it on its back like an awkward turtle. How does it happen, you ask?

First, you get the picturesque American West setting. Beautiful animation, by the way. Throw in the classic hero, Rango (Johnny Depp), recently transplanted to the desert and a little out of his element. He happens across the small town of Dirt, where the people have long been oppressed by their shady, crotchety old mayor, a tortoise (Warren Beatty). He’s been rationing what little water the sandy terrain provides, leaving the town desperately thirsty. “Control the water, and you control everything.” He’s right. When Rango, who steps into the empty role of sheriff, forms a posse to search for water, he bites off a little more than he can chew (and with no water to help wash it down!). The mayor tries his best to cover up the corruption, even calling in some old venomous pals to try to best Rango. But all the bullets in the world can’t stop this awkward housebroken lizard. He’s Rango, unchained. And all the while, an owl quartet serves as the Greek chorus, narrating and predicting – usually incorrectly – Rango’s every move.

Screenwriter John Logan (3-times Oscar-nominated for “Hugo,” “The Aviator,” and “Gladiator”) crafts this pseudo-Western like a champ, even throwing in a fun homage to Clint Eastwood (unfortunately without Eastwood’s voice, but Timothy Olyphant does an acceptable job!). Logan’s script is hysterical, but it’s also intelligent, refreshing, and remarkably accomplished in vocabulary. Every word seemed as though it was thoroughly scrutinized until it was perfect. It’s unprecedented maturity for a Nickelodeon-released movie. Really great stuff.

And besides being a respectable picture, it’s also a barrel of fun! It’s an exciting adventure, a mystery, practically everything kids love! But it can also be powerfully tender and emotional. Have you ever seen animals pray to a mythological Western spirit-god for protection? It’s life-changing. Not really, but I promise you’ll never forget the first time you see it. It’s unexpected, to be sure. But that’s why it’s great.

Johnny Depp doesn’t even have to show his face to be one of the most expressive actors around. He’s absolutely great at giving this wayward reptile undeniable life, and shows a range of emotions that (don’t shoot me) I don’t think he’s capable of showing in his live-action movies. For some reason, I think relative anonymity (as if he could ever fully have that) might allow him the chance to open up and take command. He does. He makes Rango an
unforgettable animated character. The rest of the cast (Isla Fisher, Bill Nighy, and Abigail Breslin, among others!) is, similarly, fantastic at breathing that classic Western spirit into their animal characters. Sure, these voices might teeter on stereotypical at times, but it’s all the better for it. “Rango” is the classic Western…besides, of course, that all the characters are animals.

“Rango” explains how the Western was won (and how the 2011 Academy Award for Animated Feature was won, too). All it took was some humor, adventure, emotion, and good ol’ fashioned fun. Guns, too. Yee haw!

Celebrating ‘Pi’ Day the only way I know how

Pi (1998)

Directed by Darren Aronofsky

7.5/10  R

As a movie buff, I figured “Pi” was the only way to truly celebrate 3/14. Happy Pi Day!

8:37. Write review of “Pi.” It’s only 85 minutes long. If it were any longer, I might go insane too. With its contrast of bright white and pitch black, Clint Mansell’s screeching techy score, and head-jerking cinematography (thanks, Matthew Libatique!), I was the one getting a headache. But it’s worth it.

Schizophrenic, Jewish mathematician Max Cohen (Sean Gullette) lives in a cramped apartment in New York’s Chinatown. Max, with his social phobia, tends to stay in his high-tech (well, for 1998…) computer room. In black and white, it’s hard to tell exactly what sorts of gadgets he has in there (that’s your excuse, but really you wouldn’t know if it was in full color and al the gadgets were labeled). When he begins searching for the ultimate pattern, a number that unlocks secrets both in science and in Judaism (the Holy Grail, if you will), Max slowly descends into madness.

The first feature from my favorite auteur, Darren Aronofsky, “Pi” was the start of a beautiful career in neo-noir. He would continue to bring back the actors, cinematographer, composer, screenwriter, sound mixer, etc. etc. from his premiere effort. And, besides “The Fountain” (what a complicated piece of work that was), all have had incredible success. Since “Pi,” Aronofsky has been proficient in giving us tragic and beautiful endings. Fingers are crossed that Aronofsky can change the tides of history and give Noah that same tragic conclusion in 2014.

Sean Gullette is eerily brilliant as the troubled mathematician. For some reason, especially in black and white, we can buy into his schizophrenia. We just don’t doubt it. He’s that good. And his unique narration (almost necessary, with only a small amount of dialogue) is spot-on. Mark Margolis, one of those actors Aronofsky keeps bringing back (every single one, including “Noah”), is great in a limited role as Max’s unofficial numbers guru.

Mansell’s epic score (he only gets epic-er in “Black Swan”) is the constant backdrop for the entire film, a consistent piercing in your ear. By the time the movie’s over, you start to think you might have the schizophrenia. It’s genius filmmaking.

Aronofsky’s script (written with help from Gullette and Eric Watson) incorporates time-honored techniques for suspense, some Hebrew, mythical references that only a classically learned scholar could understand, and nearly enough numbers to reach infinity. More than that, though, Aronofsky puts us in the passenger seat as Max drives himself insane. We feel for him. We want to do something to help.  But we can’t. Instead, we just enjoy the ride.

“Pi” is on Blu-ray and DVD. Or you can watch it on VHS like I did.

Like father, like son with ‘A Good Day to Die Hard’

A Good Day to Die Hard (2013)

Directed by John Moore

7/10  R

He’s on f-cking vacation, but that doesn’t stop John McClane (Bruce Willis, 57, closer to 60 everyday) from helping out his estranged son, a CIA spy in Moscow. When Jack (Jai Courtney) gets himself arrested during a mission, papa flies over to try to talk him out of trouble. It’s not exactly like John McClane to solve problems talking. Luckily for Jack, his father’s there when everything starts to fall apart. Alliances are broken (or were they ever alliances to begin with?) and we start wondering who’s fighting for whom? It’s like the end of “The Departed.” Eventually, this tag team realizes that they’re up against a lot more than a few Russian bad guys.

“A Good Day to Die Hard” has a few things going for it. First, it boasts a great backstory. Where McClane’s enemies are usually in it for the money, this time it’s about politics, an idea. And where international adventures often come with complicated set-ups, this one works well. Second, it has more action than any other Die Hard before it. It has action up the wazoo. The big car chase is so fast it’ll make your head spin (the dizzying cinematography doesn’t help). But again, some of the action tends to be unreasonable. How
has John McClane not died yet? Falling through a half-dozen floors of scaffolding, through glass ceilings, putting his pistol up against helicopter artillery – all seems sort of improbable. But in the end, who cares? This is what you go to the theater for. Lastly, it has a couple great action performances from Willis and Courtney. Jack lives up to his name, handling weapons like a McClane. Like father, like son. Sure, Courtney isn’t getting Oscar’s attention with his action movie role. But when it’s all taken in relativity, comparing all action movies of the 21^st century on the same playing field, this is a heck of a good one.

At 98 minutes, “A Good Day to Die Hard” isn’t just the only in the franchise under 100 minutes – it’s the only under 120 minutes. It’s the least-liked on IMDb, with only a 5.7/10 (Ouch!). But I didn’t mind it nearly as much as “Die Harder” for some reason. When you bill your movie as an action movie, I expect action. It delivers. I think it just has a case of high expectations…John McClane let people down this time around. Not this guy. Plus, thank goodness for R-ratings. Because really, who can take rounds of artillery fire whizzing by your head and not help but letting some f-bombs fly with your bullets? I couldn’t. Thanks for learning from your mistake.

If “A Good Day to Die Hard” is the last of the franchise, it ended on a good note. If not, I’m confident John McClane Jr. will fill his father’s big shoes. Yippee-kai-yay, motherf-ckers!

‘Live Free or Die Hard’ brings McClane into the 21st Century

Live Free or Die Hard (2007)

Directed by Len Wiseman

7/10  PG-13

It’s “another day in paradise” when John McClane (Bruce Willis) enters the cyber age in “Live Free or Die Hard.” Oops, I promised myself I wouldn’t use the word “age.” Sorry, Bruce. You were still just as badass at 52.

When an off-the-grid former FBI tech guy decides to show America what can be done with a little computer hacking (full electricity shut-down, rerouting of utilities, large-scale public panic), the FBI eventually finds the help of NYPD detective John McClane, who gets help from computer geek Matt Farrell (Justin Long). How they both get involved is a longer story than needs to be related here. When these cyber bullies find McClane’s now-college-aged daughter Lucy (Mary Elizabeth Winstead) it gets personal. Will McClane and Farrell be able to find the man in charge (Timothy Olyphant), or will his hack-turned-heist (why not get paid for all his hard work, he says) go off without a hitch?

Justin Long proves that badass can be taught. It’s a classic underdog story that everyone tries to hate but just can’t. Who cares if it’s cliché? Long is a hoot. I love sarcasm, which is why (I’m just now discovering?) these movies appeal to me so much. His snarky remarks are truly comical, not only in their delivery but in their writing. He goes from zero to hero, and we love it. Kevin Smith adds his own comic grace to the mix. He’s a bunch of fun. Do I need to say anything more about Bruce Willis? A dozen years after “Die Hard: With a Vengeance,” Willis is still at the peak of action movie perfection. He’s still the man.

With the progress in technology also comes a heck of a lot more stunts and SFX, and John McClane embraces these like we expect him to. Sometimes the crazy SFX (as realistic as it may be) does come off as a tad bit unlikely. But it does give “Live Free or Die Hard” perhaps the most firepower of the franchise so far. Lots of explosions, lots of shooting, lots of wreckage. Not a lot of deaths if we’re counting on our hands, but with that much fire we don’t care. It’s virtually overflowing with excitement (get it, virtually?). The stunts, too, are very impressive – especially considering Willis’ age.

“Die Hard” epitomizes good vs. evil. But in “Live Free or Die Hard,” the audience doubts that the good guy could possibly win. Then McClane shows you why it’s so dangerous to doubt him. Is McClane getting older or are his villains getting younger? In fact, I don’t recall a single notable character in the movie that surpasses Willis in age. A sharp contrast to the previous films. But it works, so much so that they do it again 6 years later, partnering McClane with his son (we’ll get there when we get there). One beef: “Live Free or Die Hard” marks the only “Die Hard” movie (including the newest) that was rated PG-13. You know what that means? McClane’s famous line is reduced to “Yippee-kai-yay, motherf—” and a gunshot. Thankfully they realized their mistake and prioritized, once again putting the possibility of more money behind the possibility of more awesome.

“Live Free or Die Hard” effectively brings this classic franchise to a new audience and a new generation without ruining the awesome of John McClane. Honestly, what more could they try to do?

‘Die Hard: With a Vengeance’ shoots to thrill

Die Hard: With a Vengeance (1995)

Directed by John McTiernan

7.5/10  R

Re-conceived from screenwriter Jonathan Hensleigh’s proto-script “Simon Says,” the stirring story behind “Die Hard: With a Vengeance” partners Bruce Willis, as NYPD cop John McClane, with a buddy – and not just any buddy, but his “Pulp Fiction” co-star from the year before, Samuel L. Jackson. Sounds like an unstoppable duo, but when Simon (an eerily raucous Jeremy Irons) says run, you run. Or else something in the bustling city of New York explodes. While Simon, another Euro terrorist, holds these two on a string, his cronies begin their underhanded plan. McClane has to peel back layers of Simon’s dastardly plan while running to phone booths and solving riddles. It all sounds like fun and games until Simon gets serious. Willis’ deadpan comedy complements Jackson’s loud-and-proud humor perfectly. They’re an absolute gas together, but it’s ultimately Jeremy Irons that exudes the most cool. He’s slick, he’s suave, and he reminds me a lot of another “Die Hard” villain. You’ll see why. The film with the most star power shines the brightest, but no movie is only as good as its cast. Look at “Valentine’s Day.” But believe me, it boasts way more than its brilliant ensemble. Who would think, the film that finally stayed grounded would fly the highest? That’s right; this absolute thrill ride rivals the first in terms of sheer adventure and excitement. Where “Die Hard” stays within the confines of a single skyscraper, Simon runs McClane all over NYC. The scope changes, but the fun doesn’t. “With a Vengeance” still doesn’t have the shoot-outs the first offered, but you’ll hardly miss them. Instead, you’re almost falling off the edge of your seat waiting to see what Simon will do next. Think The Joker or Bane in “The Dark Knight” trilogy. The suspense is in not knowing.

“Die Hard: With a Vengeance” is a wildly entertaining goose chase that ends with a lot of fun and a lot of fire. McClane with a partner makes me think there just might be power in numbers.