Die Hard With a Vengeance (John McTiernan, 1995)

Perhaps realising the terminal limitations of the "Die Hard in a ___" formula, brought all the closer to parody by Seagal et al, the third film in the series dispenses with the claustrophobic, cat and mouse of the first films and instead splashes its violent, acerbic paint over a much wider canvas.

Adapted from a script called SIMON SAYS, at one point a Brandon Lee vehicle then later considered as the next LETHAL WEAPON, the film sees John McClane team up with Samuel L Jackson, again playing himself, as a zany mismatched couple attempting to foil the efforts of a grudge-bearing sadistic Euro-terrorist, wrought laughably camp by the constantly vest-clad Jeremy Irons.

A satisfying balance and zinging dialogue between the two leads, plus plenty of clever action and moments of shocking violence keep the interest initially high, although the film fails to sustain it throughout, especially once the villain's plan is revealed as almost an exact retread of the first film's. Like so many action films it also loses focus an hour and a half or so in, failing to keep ahold of the myriad plot threads it has woven, and the seemingly ad-libbed, tacked-on climax is deeply unsatisfying.

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Die Hard 2 (Renny Harlin, 1990)

Spirited if misguided attempt at improving the original by ramping up the action, threat and scope of the story, destroying in the process much of what made the first one great. A film clearly far too ambitious for the writers and directors who worked on it, Die Hard 2 is sprawling, aimless and full of hundreds of screeching unsympathetic minor characters. This time we find Detective John McClane battling a confused mix of military, mercanery and drug lord against the admittedly atmospheric background of a Christmas-time Dulles International Airport. The tense stand-offs of the first film are replaced with countless nonsensical overlong gun battles, the unique locations with huts and tunnels and the charasmatic villains with silly action figures. A few clever moments and pretty snowscapes raise the film now and then, but it's never more than a minute or two away from its noisy, clumsy roots.

Manhunter (Michael Mann, 1986)

Extremely effective, genuinely tense and intelligently constructed serial killer film, elevated way above the norm by Michael Mann's elegant direction, a strong cast, gorgeous photography and a moodily evocative synthesised soundtrack. Sensibly reigning in the more over-the-top moments of Thomas Harris' original novel, Manhunter is far more than the sum of its parts; managaing to be chilling, haunting, funny and thrilling by turn, succeeding everywhere the increasingly cynical and ridiculous sequels/remakes failed to do.

Phone Me If You're Bored (Aidan Smith and his Indulgent Friends, 2014)

Aidan Smith is back, Indulgent Friends in tow, for another slipshod, ramshackle excursion into love, loss and absurdity.

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