New York police officer John McClane hoped to spend a little Christmas celebration with his estranged wife and children in Los Angeles. What he got instead was a bone-crunching, foot-cutting, guns-blaring battle to the death with a band of German terrorists. Set to raid highly secure vaults with a high-tech/high-powered ambush, Hans Gruber and his posse hijack his wife's company Christmas party. Despite the 'help' of the LAPD and FBI, McClane must scrap his way through the melee, free the hostages, and in the process repair his troubled marriage. Although the film is quite entertaining, some might find the stereotypes dated and offensive.

Nov 29, 2005  Parents need to know that Die Hard is packed with extreme acts of violence perpetrated by both the 'bad' guys and the hero. The film includes a bloody execution, many onscreen killings, and the holding of many innocent hostages.

The cold war film takes full advantage of German stereotypes with its gigantic creepy Aryan villains.After the mega-hit-success of this film, Bruce Willis, known mainly at this point for his work on television's Moonlighting, was reborn as a bona fide action star. Some excellent supporting actors deserve kudos along with Willis and the film's special effects. Rickman's (, ) slick evil portrayal of Hans is on the mark, and Reginald VelJohnson (Papa Winslow from television's ) gives an excellent performance as the only LAPD officer helpful to McLane. Viewers may also recognize traditional baddies Paul Gleason as the less than helpful Deputy Chief and William Atherton (, Real Genius) as an opportunist news reporter.Families can talk about stereotyping and vigilante justice.

Are John's actions, blowing things up, killing, etc. Warranted by the situation? Should he have taken alternate legal measures to deal with the situation?.The film uses a in the development of its villains.

What characteristics unite individuals such as Hans and Karl? Are such generalizations problematic? How do films today approach this subject?.All of the film's active characters, John, Al, Hans and his henchmen are men. Can you think of more recent action films that feature women as main characters?

You'd think McClane's kids would give him a break for not being there for every dance recital and Little League game, but in 'Live Free or Die Hard' (2007), it took an attack by a team of cyber-terrorists to reunite him with his estranged daughter. Now, with 'A Good Day to Die Hard,' McClane has to go all the way to Russia and battle yet another bunch of ruthless master criminals and their henchmen just to get a little closure with his son, to whom he hasn't spoken in years.

Yippee-ki-yay, absentee father.

Granted, in the original 'Die Hard,' John and Holly probably wouldn't get back together without Hans crashing the Nakatomi holiday party. But director John McTiernan delivered a first-rate action film that became an instant classic: the perfect vehicle for Willis to showcase his wise-ass but slightly vulnerable persona. 'Die Hard' worked because we got to know McClane (and the bad guys) before the body count started piling up.

A quarter-century later, McClane has been stripped of any real traces of an actual three-dimensional character. We feel as if we're watching Bruce Willis in a Bruce Willis movie in which Bruce Willis can survive anything while taking out the villains, video-game style. 'A Good Day to Die Hard' hits the ground shooting, never giving us a chance to get the least bit involved with any of these characters, including McClane's now-grown son, Jack (Jai Courtney), who keeps reminding 'John' (as he persists in calling his dad) he was never there for him, even as they team up to take down a number of high-level Russian thugs.

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McClane thinks he's going to Russia to save or at least his support his son, who's been charged with a serious crime, but within 15 minutes of his dad's arrival, Jack has seriously botched an undercover mission.

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That's right: Jack McClane is working for the CIA. Somehow Pops, who's been pretty good at solving complex mysteries since the days when he was waiting for important faxes at Dulles airport, had no idea the kid was a top-level undercover spy.

Not that any of this stuff matters. Director John Moore is clearly a fan of Explosion Porn, filling up the screen with great fanning orange flames and crashing helicopters, blowing up buildings and engineering multiple slow-motion scenes in which John and/or his son fly through the air like superheroes without wings, crash through windows and bounce off conveniently placed scaffolding, never sustaining so much as a broken rib or a fractured ankle. Iron Man in his full suit would be experiencing concussion-like symptoms after surviving such abuse.