Iconoclastic, take-no-prisoners cop John McClane, finds himself for the first time on foreign soil after traveling to Moscow to help his wayward son Jack – unaware that Jack is really a highly-trained CIA operative out to stop a nuclear weapons heist. With the Russian underworld in pursuit, and battling a countdown to war, the two McClanes discover that their opposing methods make them unstoppable heroes.
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Credits: TheMovieDb.

Film Cast:

• John McClane: Bruce Willis
• Jack McClane: Jai Courtney
• Komarov: Sebastian Koch
• Irina: Yuliya Snigir
• Collins: Cole Hauser
• Alik: Radivoje Bukvić
• Murphy: Amaury Nolasco
• Chagarin: Sergey Kolesnikov
• Anton: Roman Luknár
• Russian Mafia Member: Zolee Ganxsta
• Prosecutor: Péter Takátsy
• Taxi Driver: Pasha D. Lychnikoff
• Reporter: Megalyn Echikunwoke
• Lucas: Melissa Tang
• Russian Mafia Member: Attila Árpa
• Russian Mafia Member: Norbert Növényi
• Mako: Martin Hindy
• Colonel: Rico Simonini
• Foxy: Aldis Hodge
• …: April Grace
• (uncredited): Anne Vyalitsyna
• Lucy McClane (uncredited): Mary Elizabeth Winstead

Film Crew:

• Casting: Deborah Aquila
• Original Music Composer: Marco Beltrami
• Producer: Wyck Godfrey
• Editor: Dan Zimmerman
• Characters: Roderick Thorp
• Director: John Moore
• Director of Photography: Jonathan Sela
• Dolby Consultant: Andy Potvin
• Sound Re-Recording Mixer: Ron Bartlett
• Special Effects Technician: Sam Conway
• Production Design: Daniel T. Dorrance
• Screenplay: Skip Woods
• Stunt Coordinator: Jeffrey J. Dashnaw
• Set Decoration: Jille Azis
• Casting: Zsolt Csutak
• Sound Recordist: Tim Gomillion
• Sound Effects Editor: Chuck Michael
• Casting: Lina Todd
• Visual Effects Supervisor: Everett Burrell
• Producer: Alex Young
• Animation Supervisor: Petr Marek
• Casting: Tricia Wood
• Costume Design: Bojana Nikitović
• Stunts: Eric Jacobus
• Set Decoration: Zoltán Horváth
• Local Casting: Kirsty McGregor
• Visual Effects Producer: Brett Dowler
• Visual Effects Supervisor: Matthew Gratzner
• Costume Supervisor: Cristina Ghergheli
• Supervising Art Director: Tom Brown
• Local Casting: Alena Garetovskaya
• Art Direction: Bence Erdelyi
• Costume Supervisor: Adina Bucur
• Visual Effects Supervisor: Bryan Godwin
• Visual Effects Supervisor: Eric D. Christensen
• Visual Effects Supervisor: Ed Bruce
• Visual Effects Producer: Sarah Mooney
• Sound Effects Editor: Lee Gilmore
• Art Direction: Andrew Munro
• Foley: John T. Cucci
• Sound Effects Editor: Ai-Ling Lee
• Visual Effects Producer: Christal Wolgamott
• Additional Camera: Márton Miklauzic
• Greensman: Mátyás Szakonyi
• Sound Re-Recording Mixer: Doug Hemphill
• Still Photographer: Frank Masi
• Visual Effects Editor: Ryan Chavez
• Supervising Sound Editor: Jay Wilkinson
• Second Unit Director of Photography: Elena Ivanova
• Stunt Coordinator: Steve M. Davison
• Sculptor: Tamas Ordodi
• Sculptor: Zoltán Kiss
• Stunt Coordinator: Domonkos Pardanyi
• Transportation Coordinator: Claudia Kossik
• Location Manager: Laszlo Rorariusz
• Location Manager: Balint Kovacs
• Assistant Art Director: László Szirmai
• Location Manager: Rudolf András
• Visual Effects Supervisor: Joe Farrell
• Visual Effects Producer: Julia Neighly
• Greensman: Gergely Kajdi
• Unit Publicist: Larry Garrison
• Visual Effects Producer: Charlene Eberle Douglas
• Makeup Artist: Fiona Connon
• Helicopter Camera: John Marzano
• Digital Intermediate: Marisa Clayton
• Camera Operator: Des Whelan
• Visual Effects Supervisor: Sean Andrew Faden
• Music Editor: Jay Duerr
• Property Master: Chris Cull
• Camera Operator: György Réder
• Armorer: Michael Papac
• Makeup Department Head: Gerald Quist
• Second Unit Director of Photography: Jonathan Taylor
• ADR Supervisor: Vanessa Lapato
• Digital Intermediate: Mark Sahagun
• Gaffer: Gábor Hevesi
• Script Supervisor: Dora Simko
• CG Supervisor: Dan Mayer
• Camera Operator: Gregory W. Smith
• Art Direction: Nick Blanche
• Set Decoration: Dóra Papp
• Hairstylist: Francesca Crowder
• Makeup Artist: Anna Tesner
• Art Department Coordinator: Eniko Orosz
• Scenic Artist: Howard Weaver
• Sound Recordist: Ryan Cole
• CG Supervisor: Matthew Lee
• CG Supervisor: Mohsen Mousavi
• Animation Supervisor: Mike Warner
• Visual Effects Producer: James Dornoff
• Visual Effects Producer: Amber Kirsch
• Visual Effects Editor: Thorsten Knatz
• Visual Effects Editor: Jake Walshe
• Visual Effects Supervisor: Randy Goux
• Camera Operator: Botond Aszalós
• Camera Operator: Imre Juhász
• Gaffer: James Elton Davis
• Additional Photography: Andrew Banwell
• First Assistant Editor: Ian Silverstein
• Transportation Coordinator: Gábor Szénási
• Location Manager: János Cserven
• Dialect Coach: Elena Baranova
• Casting Associate: Kate Ringsell
• Foley Editor: Matthew Harrison
• Armorer: Béla Gajdos
• Armorer: Gábor Gajdos
• Armorer: Sascha Robey
• Stunts: Géza Kovács
• Location Manager: Péter Fülöp
• Stunt Coordinator: Valeriy Derkach

Movie Reviews:

• Per Gunnar Jonsson: My god what a disappointment! The original movie had a script worth watching and some good action and special effects. This one, well this was a typical Hollywood script written by someone who either was incredibly stupid or just too arrogant to care. It is a script that I would expect from a SyFy channel production.

  There was absolutely nothing that made sense in this script. The actual plot about Chernobyl that was ludicrous to say the least. I’m sure the special effects guys had a great day doing the car chase at the beginning but it was just exaggerated and silly to watch. Obviously there are no cops or anything in Moscow since they could drive around smashing cars forever without anyone seeming to care. They walk into Chernobyl and sprays some magic fluid onto the highly radioactive place and voilà, the radioactivity is gone and they can take off their protective suits. What a load of bull! They steal a car and drive to Chernobyl (which is around 1000 kilometres away and the roads in Russia are NOT western highway standard) and they still manage to get there in time to catch the bad guys who are in choppers. Not to mention the fact that they actually get near the place without being stopped. I can go on with this but it is only more and more depressing.

  Oh, my favourite (sarcasm), Switzerland have obviously invaded France since Grenoble is now in Switzerland. Funny that I, who lives a couple of hours drive from Grenoble, have not heard about this. That is just so typical dumbass American script writer who have never set foot outside of Hollywood. Maybe it was supposed to be funny but I honestly do not think so and in any case, it was not funny.

  The only reason this movie gets a 4 out of 10 star rating is because the special effects are indeed impressive if you can push yourself to look past the ludicrousness of them and it is Bruce Willis after all. It is a shame that they obviously handed the franchise over to some idiot(s) that obviously where utterly incompetent at what they were doing.

• Wuchak: Big, dumb, fun action flick in Russia dies hard to entertain

  RELEASED IN 2013 and directed by John Moore, “A Good Day to Die Hard” is the Third of (currently) five installments in the Die Hard series. In this one John McClane (Bruce Willis) travels to Moscow to aid his unruly son, Jack (Jai Courtney), only to discover that Jack is an undercover agent. Father & son team-up to stop a nuclear weapons heist. Sebastian Koch is on hand as a focal point in the heist.

  The Die Hard flicks fill the bill if you’re in the mood for big, dumb, fun action thrills. Don’t get me wrong because a lot of work goes into making these kinds of films and it takes talent & genius to pull them off. I mean “dumb” in the sense that the focus is on unbelievable action rather than deeper themes beyond “genuinely good people may be flawed and somewhat profane, but they’re courageous and never give up in the face of evil.” Thankfully, this installment throws in some entertaining father/son character development in between the wild action sequences. McClane’s daughter also appears for good measure (Mary Elizabeth Winstead).

  The story isn’t quite as engaging as “Live Free or Die Hard” (2007), but it was good enough and the action scenes are out of this world, including a long vehicle chase in Moscow in the opening act. Director Moore ups the ante with quick-editing for this one. Some parts are eye-rolling absurd, but everything’s done with a quasi-realistic tone, which sorta helps the viewer go along with the ridiculousness rather than tune out.

  The Die Hard flicks are the natural progeny of over-the-top films like 1977’s “The Gauntlet” where the action scenes are so overdone they’re cartoony, but entertaining. There’s a thin line that filmmakers must tread with these kinds of blockbusters because they can easily fall into overKILL, like 2001’s “The Mummy Returns.” Thankfully, “A Good Day to Die Hard” pretty much evades that ditch by giving us entertaining protagonists & antagonists, amusing one-liners, worthy bits of character development and a compelling comic booky story. Speaking of the story, one of the highlights is the infamous Russian location of the final act. Another highlight is hottie raven-haired Yuliya Snigir.

  THE MOVIE RUNS 1 hour, 38 minutes and was shot in Budapest, Hungary, with the Chernobyl scenes done at Old Soviet Air Force Base, Kiskunlacháza, Hungary, along with establishing shots of Moscow. WRITERS: Skip Woods.

  GRADE: B/B- (6.5/10)