without rhyme or reason. McClane's catchphrase (heard in full) is wasted on an attempt to find a casual twist on tradition.

Willis has been notoriously sleepy-eyed in many of his 21st century movies, but he actually seems upbeat here, ready for action. Moore responds by giving his character a minimal amount of dialogue and even screen time, favoring Jack over John. Of course, this does Courtney no favors; he's okay but has no role to play other than "a guy who hates his father," and the two can't build chemistry without any foundation. The villains (there are three) are even blander than Timothy Olyphant's hacker from the previous film, with at least two suffering from having been written to echo Alan Rickman's Hans Gruber. Moore slams the final nailsin the coffin with dirt-dull compositions that both detract from the action and are frequently boring (notice how often there's nothing in the frame besides the characters and a distant wall), and his handling of the sentimental material is even worse. By the time the movie's sappy final freeze frame settles into place, there's no doubting A Good Day to Die Hard is the series' worst entry, a victim of a bankrupt culture and the product of someone who saw too many movies as a child.