Its not about Christmas, seldom shown at Christmas, and Bruce Williss vest isnt red with fur trim but this action blast is as essential as tinsel and telly
Twas the night before Christmas, and all through the Nakatomi Plaza, not a creature was stirring well, except for those crazed Euroterrorists led by Alan Rickman and the loose-cannon New York cop played by Bruce Willis. There is nothing terribly seasonal about Die Hard, despite its Christmas Eve setting. It takes places in Los Angeles, so theres no snow. Theres a tree in the building, and a few items of Christmas clothing allowing McClane, when he knocks off his first terrorist, to put him in a Santa hat, write the words Now I have a machine gun. Ho-ho-ho on his top and send him in the lift to Rickman.
There is nothing terribly seasonal because Christmas doesnt matter in Die Hard: its just a McGuffin, a convenient reason for McClane to be travelling across the country. It was such a good McGuffin that it was recycled for Die Hard 2, the one set in the airport on Christmas Eve. Yet Die Hard 2 is just the second movie in the Die Hard series, while Die Hard has become a Christmas movie. That doesnt necessarily mean you watch it at Christmas, or that its on prominently in the Christmas TV schedules.
But Die Hard most certainly is indelibly associated with Christmas. It crops up in polls of peoples favourite Christmas films: earlier this year, the readers of Empire magazine rated it the greatest Christmas movie ever. The internet is awash with thinkpieces explaining why exactly it is a Christmas movie. If thats not enough the Canadian prime minister, Justin Trudeau, appeared on breakfast TV in Toronto last Friday, where he asserted: Yes, Die Hard is absolutely a Christmas movie. Theres no doubt about it.
So lets take that for granted, whether or not we really agree with the proposition: Die Hard is a Christmas movie. And it is one because so many people passionately believe it is. Whats more interesting, though, is why it has become regarded as a Christmas movie, because it certainly wasnt made as one.
Die Hard was released in the US in July 1988, and reviewers made only passing reference to its Christmas element why would they, given they were writing in the heat of midsummer? It came out in the UK the following February, and only received a December release in Argentina, Portugal, El Salvador, Uruguay and Denmark.
Nor was it one of the movies selected by the UKs terrestrial broadcasters in the days when viewers only had the choice of four channels and no internet to be a tentpole of their Christmas schedules.
So theres nothing in Die Hards history to make it into a Christmas movie. Yet a Christmas movie it has become, but not to everyone. Earlier this month, YouGov released a poll about the movie surely the founders of psephology did not foresee the day that pollsters would be earning a crust assessing the seasonal status of old action films which found that only 30% of people thought it was a Christmas film, while 52% didnt.
The age breakdown, though, was more telling . The only age group in which more people thought of Die Hard as a Christmas movie than didnt was 25- to 34-year-olds (44% against 37%), while 35- to 44-year-olds were narrowly against the idea (42% said it was a Christmas film, 47% said it wasnt). So Die Hard is most likely to be seen as a Christmas film by those who were too young to see it at the cinema (where it received an 18 certificate).
Interestingly, 18- to 24-year-olds, the first generation for whom the box in the corner is not the main provider of visual entertainment, were overwhelmingly against the idea of it being a Christmas film (52% to 28%).
If you add in some data, you can see when the association of Die Hard with Christmas begins or at least make an educated guess. Google Trends goes back to 2004, but when you look at its search trends for Die Hard, you can see the first noticeable spike is in December 2006, with small spikes every December since (the two massive spikes are tied in to the release of sequels, and nothing to do with the original film).
Something else was happening around the time of that first spike, too: Facebook launched in 2004, and Twitter launched in 2006. Suddenly, social media gave people a chance to share their own perspectives, and while some people communicated about politics or society, others really wanted to tell their friends that Die Hard was a Christmas movie.
This ties into an observation the film historian Matthew Sweet makes about how the context of films changes when people share a single observation, or a single image. Films now have this other afterlife in tiny clips and gifs, he says, so a particular image from a film like the dead terrorist in the Santa hat in Die Hard can break free from the film and have this other life online that might be its most vigorous form of life.
Die Hard is really only a Christmas film to a narrow band of people, and YouGov knows exactly which ones: the ones between young adulthood and early middle age for whom Die Hard has been a constant presence. They think of it the same way as I think of Where Eagles Dare: I know I have seen Where Eagles Dare at Christmas I have a vivid memory of Isla St Clair from the Generation Game making it her Christmas pick in the Radio Times but Ive also seen it lots of other times. Yet its associated with school holidays in my mind, and so it became a Christmas film.
Thats a point Sweet makes, too, suggesting that films associated with some special childhood event get associated with Christmas, because Christmas is the most special time: You might find some Christmas films were really Easter films, you just saw them when you were off school, he says.
How The Blair Witch Project changed horror for ever
The movie’s marketing took advantage of trust in the early internet, but fake news isn’t what it used to be
“We will never get a movie like The Blair Witch Project again. Having said that, weve had dozens of movies like The Blair Witch Project. In the 20 years since its release, it has transformed the horror landscape, and more besides. Found footage is now a sub-genre in itself thanks to it. How many horror movies have we seen claiming: This all really happened, honest? How many occult symbols and folk myths have crossed our screens? How many gung-ho teens have set off on an adventure, never to return? And how many times has a gimmicky horror reaped rewards for virtually no outlay? Blair Witch did not invent all these tricks but it put them together to create a phenomenon. It is the 21st centurys Exorcist………………………………………………….”
Yes, ‘New Mutants’ is still coming, Probably.
Jean Grey comes into her powers in ‘Dark Phoenix’.
“The X-Men are part of the Disney family now, and never has that felt clearer than at the studio’s CinemaCon presentation Wednesday.
Disney touted both Dark Phoenix and New Mutants as part of its upcoming slate, alongside the usual Avengers and Star Wars and Pixa
What exactly the X-Men’s future looks like at the Mouse House, though, remains unclear.
Deadpool clearly isn’t going anywhere. “You’ll be seeing more of Deadpool in the years ahead,” promised studio chairman Alan Horn, after sharing Ryan Reynolds’ cheeky tweet about Fox joining Disney.
And New Mutants, despite delayed release dates, reports of reshoots, and rumors of a straight-to-streaming distribution plan, does seem to be headed to cinemas — it was included on a slide of Disney’s 2019 theatrical releases.
But the core X-Men franchise led by James McAvoy, Michael Fassbender, Jennifer Lawrence, and Sophie Turner is evidently coming to a conclusion. Dark Phoenix, out this summer, was described by 20th Century Fox’s Emma Watts as “the perfect sendoff” to the X-Men series……………………………………………………….”
Dog assassins are a thing in ‘John Wick: Chapter 3’ and holy crap we can’t wait
These good boys are ready to help. Also, John Wick and Sofia are there.
“The entire John Wick franchise was set into motion by the death of a dog. Now, in John Wick: Chapter 3 — Parabellum, the canine species finally gets a shot at revenge.
In footage revealed exclusively at CinemaCon, two Belgian shepherds owned by Sofia (Halle Berry) take an active role in the fight, bringing down the bad guys who would harm Sofia and John (Keanu Reeves).
The scene opens with the two human assassins in what looks like a desolate, deserted castle, preparing for some dramatic event to come.
Parabellum knows exactly how long we’ve been waiting to see some dogs fuck some shit up.
Then the henchmen arrive and the shooting starts, and Sofia’s dogs spring into action. They race ahead to take down minions for Sofia to shoot. One mauls a guy, sending him off the side of a high wall.
At one point, Sofia spots a baddie coming at them from above — so she bends over and lets one of her dogs springboard off her back, leap onto that high wall, and attack that dude directly.
Mind you, Sofia and John are in the battle as well, frantically running around and shooting at nameless villains in the gracefully choreographed way we’ve come to expect from these films………………………………………………………………….”
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