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37 Things We Learned from Steven E. de Souza's 'Die Hard' Commentary

37 Things We Learned from Steven E. de Souza's 'Die Hard' Commentary
filmschoolrejects.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from filmschoolrejects.com Daily Mail and Mail on Sunday newspapers.

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The 25 Greatest 'Not Dead Yet!' Scares in Movie History

We rank the movies that made the best use of one of the most overused horror clichés: a presumed-dead villain coming back for one final shock. These are the best “Not Dead Yet!” scares.

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The 'Die Hard' Plot Hole That Pisses Us Off Every Time

The 'Die Hard' Plot Hole That Pisses Us Off Every Time
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Die Hard Is Still Endlessly Rewatchable 35 Years Later

Die Hard is one of those movies that I never seem to grow tired of, despite having watched it over a thousand times.

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Die Hard: The Ultimate Viewing Guide

Empire brings you the ultimate guide to the greatest action movie ever made: Die Hard.

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Yippie Ki Yay—Meet the Insane Guns of Die Hard


Yippie Ki Yay—Meet the Insane Guns of Die Hard
There are many impressive weapons that were used in the Die Hard franchise, including the weapon that sparked the famous line “I have a machine gun, ho, ho, ho!”
The 1988 film 
Die Hard turned Bruce Willis into an action star and created a new subgenre of “heist” style films—where the hero faced numerous villains in a single location or restricted setting, in this case an office tower on Christmas Eve. The basic plot came from Roderick Thorp’s 1979 novel 
Nothing Lasts Forever, which was actually a sequel 
The Detective. That first book had actually previously been made into film adaption starring Frank Sinatra.

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10 times Alan Rickman was incredible in Die Hard


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He's been called the greatest action movie villain in Hollywood history: Alan Rickman's Hans Gruber, the meticulous mastermind behind the Christmas Eve Nakatomi Tower heist in 1988's
Even though
Die Hard was the British actor's feature film debut, Rickman reportedly (and rather successfully) pushed writers Jeb Stuart and Steven E. de Souza, producer Joel Silver, and director John McTiernan to reconceive the film's antagonist into a character that was more suave and urbane and less militaristic, in order to better suit his strengths. Their collective efforts aligned to generate a performance that many consider perfect: Every line delivery is ideal. Every physical gesture is just right. Even his beard is sublime. Viewed decades later, Rickman's performance remains admirable for — to borrow Gruber's line — "The exactness, the attention to every conceivable detail."

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