The heist sequences - particularly the final, set to Sinnerman by Nina Simone - are works of pure cinema, with McTiernan operating at the absolute peak of his abilities. Unfortunately I found almost everything else to be somewhat flat. As a couple, Brosnan & Russo are smug rather than charming, & their extended seduction becomes a travelogue of alienating extravagance with no real dramatic centre.
Compared to the original 1968 movie, Pierce Brosnan lacks the coolness of Steve MacQueen. Rene Russo has none of the chemistry or quality that Faye Dunaway show even more apparent when she appear to do a small cameo appearance. The film is also too comic and lacks the erotic intensity with Rene Russo going topless in a hope to sell the movie for some people interested in seeing her tits.
McTiernan's film contains some elements of interest. The last scenes are pure postmodern philosophy: the final heist is organized upon the limits of the video screens that make the thief impossible to be clearly seen. The eye has lost his fundamental position in the contemporary audiovisual society and the thief - the postmodern artist - can play with the images.
The bulk of the film is a war dance (or a mating ritual) between two apex predators, jumpstarted and concluded by two sequences that show just how good McTiernan is at action setpieces. The final sequence in particular is pure cinematic action; without the need of guns, fire, explosions, shaky cam, etc. Just employing creativity, editing, and a perfectly chosen music track.