DID YOU READ

Tim Grierson on the Enduring Legacy of “Die Hard”

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On July 15, 1988, the weekend’s big action-thriller was a film featuring one of Hollywood’s most beloved characters played by one of its biggest stars. I’m speaking, of course, of “The Dead Pool,” the last of Clint Eastwood’s “Dirty Harry” movies. But that weekend also included another release, although it was only on 21 screens. Starred some TV actor. Had a kinda ridiculous premise. It was “Die Hard.”

It’s been 25 years, and a lot of the movies from that summer have been forgotten: “Cocktail,” “Young Guns,” “A Nightmare on Elm Street 4: The Dream Master.” But “Die Hard” has endured. This Friday sees the release of the franchise’s latest sequel, “A Good Day to Die Hard.” Over time, the series has gotten increasingly more ludicrous and cheerfully over-the-top. But at its core, the scrappy, underdog spirit of that original “Die Hard” remains. Which is another way of saying, thank god for Bruce Willis.

When the original “Die Hard” opened, Willis had enjoyed a little success in films thanks to the comedy “Blind Date,” which had come out the year before. (He followed it up with “Sunset,” a bomb.) Still, Willis was primarily known for his Emmy-winning role as David Addison on the comedy-drama series “Moonlighting.” He wasn’t the most obvious choice to play John McClane, a NYPD officer who has to take out a bunch of terrorists holding a gaggle of hostages (including his estranged wife) in a Los Angeles skyscraper right before Christmas. This was the 1980s, when action heroes were played by Schwarzenegger or Stallone.

But the secret to the film’s success — the whole franchise’s, really — was that Willis didn’t try to be one of those action heroes. Instead, he seemed to take a page from Harrison Ford, whose “Star Wars” fame had only grown due to the Indiana Jones films. As Indy, Ford never wowed us with his hulking frame; it was his sarcastic, black-and-blue ordinariness that made the character so appealing. He was a hero not because it was easy but, rather, because it was really hard. Willis took wisecracking David and turned him into a reluctant gun-toting, explosion-evading grumpy smartass who wanted to defeat the bad guys mostly because they were annoying the hell out of him. Eddie Murphy had proved the viability of the high-octane action-comedy with the “Beverly Hills Cop” movies, but in “Die Hard” Willis leaned more toward the action than the comedy. In ’88, people probably didn’t go to “Die Hard” because it was funny. That was just a lucky side benefit.

It also didn’t hurt that he was paired with a truly fun nemesis. As Hans Gruber, Rickman did a variation on every super-snide James Bond villain that came before, except he was actually smart and not campy. It’s almost as if Rickman wasn’t aware that ’80s bad guys were supposed to be really cheesy. Best know for his work on the stage and on television in England, Rickman wasn’t well-known by film audiences. For all we knew, maybe he was a criminal mastermind. (And for all the fine performances he’s given since, his cool, slightly haughty demeanor has been their constant through-line, connecting him back to Hans forever.)

Another reason the film has held up is because it’s simply ingenious. Based on the 1979 book “Nothing Lasts Forever,” “Die Hard” basically invented a whole new genre of action movie: one in which a regular guy is trapped in a location with a bunch of heavily-armed baddies. (As luck would have it, though, these “regular guys” often just happened to be buff dudes like Steven Seagal or Jean-Claude Van Damme.) This was a major change from most action movies, which drew their excitement from elaborate chase sequences or scenes in which the hero has to infiltrate the villain’s stronghold. With “Die Hard,” McClane was constantly hiding in the Nakatomi Plaza trying to evade capture while communicating via walkie-talkie to a local cop (Reginald VelJohnson) outside the building. The film was more of a cat-and-mouse thriller than a conventional shoot-‘em-up. (Although, granted, there is still a lot of shooting ’em up.) Maybe that’s why none of the sequels was ever quite as good: They all had Willis, but they opened up his world to make them more like other people’s action movies.

This isn’t to say that “Die Hard” is perfect. As groundbreaking as the film is, it features one of the stupidest side characters in all of action movies. That, of course, would be Dwayne T. Robinson, the LAPD chief played by Paul Gleason who’s almost maniacal in his distrust of McClane. As Roger Ebert said perfectly in his review at the time, “As nearly as I can tell, the deputy chief is in the movie for only one purpose: to be consistently wrong at every step of the way and to provide a phony counterpoint to Willis’ progress. The character is so willfully useless, so dumb … that all by himself he successfully undermines the last half of the movie.” That may be a bit of an exaggeration, but Robinson does deliver the film’s unforgivably dumbest line: After a FBI helicopter is destroyed, killing everyone inside, he matter-of-factly comments, “We’re gonna need some more FBI guys, I guess.” It’s entirely possible Gleason is playing the same numbskull from “The Breakfast Club.”

But when you go back and watch “Die Hard” now, fondness will probably help you forgive those types of problems. Above all, what’s great is that the movie doesn’t realize it’s going to give birth to a genre or a franchise. It’s just this plucky little movie about a dude in an undershirt winning back his wife by saving her and her coworkers. The movie is simply a great idea executed extremely well.

The sequels realized that they never could recapture the once-in-a-lifetime ingenuity of the “Die Hard” plot, so they had to keep expanding the concept and adding new quirks, all the while joking about the fact that, yes, it is completely preposterous that the same shit keeps happening to the same guy over and over. In “A Good Day to Die Hard,” which I haven’t seen yet, he’s fighting alongside his son — a plot point that I’m sure Fox is hoping will extend the brand after Willis really is too old to be doing these movies. But it’s funny how the franchise has come full circle. “Nothing Lasts Forever,” the book that inspired the original movie, was written by Roderick Thorp and was itself a sequel to his book “The Detective,” which became a movie starring Frank Sinatra in 1968. In “Nothing Lasts Forever,” the hero (Joe Leland) is an older guy trying to save his daughter and grandchildren from terrorists. No doubt Fox decided to make McClane younger for “Die Hard” so that it seemed more realistic. Nowadays, McClane’s old enough that such a storyline doesn’t seem nearly so farfetched anymore.

You can follow Tim Grierson on Twitter.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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