The Bourne Ultimatum

The Bourne Ultimatum is the latest in the Ludlum-based spy thriller series and it’s the best of the bunch. The film launched into a summer blockbuster-packed August and joined the seemingly endless parade of sequels and trilogy films like Spider-Man 3, Pirates of the Caribbean: At World’s End, and Shrek the Third only to blow them away with skillful precision. The Bourne Ultimatum delivers intelligent, slick thrills with a breakneck pace, providing ample chase and fight sequences to satisfy even the most discerning viewer. Between the Bourne series and the direction of the Bond franchise, I think it’s safe to say that spy movies are back in a big way.

Paul Greengrass (United 93, The Bourne Supremacy) is at the helm for this one and he brings a great deal of energy and frenetic pacing to this taut thriller. Greengrass directs this film like an eavesdropper, especially during the conversation scenes. He elects to position the cameras over the shoulders of the speakers or in various other unorthodox places, giving some viewers fits of dizziness but placing most right smack dab in the situation as though something of vital importance is going on. Greengrass ably directs the film, injecting the film with a sort of “jerky intrusiveness” so as to jack the genre full of new energy and provide the events of the film with a new light. The “critique” of this style is a little empty-headed, in my opinion, as it certainly elevates both this film and The Bourne Supremacy into a new world of spy action goodness.

Matt Damon is, of course, back as Jason Bourne. This time, he’s all business from the beginning as we pick up right where The Bourne Supremacy left off and get started with such a breakneck pace that it begins to feel overwhelming. Bourne is on the run and he has a mission in mind, making every second count and every movement designed with purpose and expert calculation. Damon draws this out nicely and puts in a good performance, leaving no word or motion wasted. He knows exactly what he’s doing in the role and, because of this, we are confident that Bourne knows what he’s doing, too.

The remainder of the cast is stacked to the rafters with an incredible amount of talent. Julia Stiles, David Strathairn, Scott Glenn, Joan Allen, Paddy Considine, Edgar Ramirez, and the excellent Albert Finney all jam into this one and make it something extra special. Each scene is acted with intensity and, once again, without a wasted motion. There’s simply not a moment to lose in The Bourne Ultimatum and no time for jokes or silly stuff. It’s just straight ahead, pedal to the metal, balls to the wall, etc. You get the idea.

The Bourne Ultimatum essentially tracks Jason Bourne as he starts piecing together the puzzle of his existence. He comes across a British reporter that is making waves with a series of newspaper articles about “Operation Black Briar”, which is an upgrade to “Operation Treadstone.” Bourne sets up a meeting with the reporter and the confrontation sets off a series of new memories, leading Bourne to get closer to who he really is and closer to blowing the lid off of the whole mess. Meanwhile, the suits in charge attempt to put a lid on Bourne and everyone he comes in contact with using a series of new and improved assassins and tough guys.

The action in The Bourne Ultimatum is tight and concise, packed with nice fight scenes – including one of the best I’ve seen in recent memory – and a breakneck car chase that literally left me breathless. The film is a rocket of adrenaline, ably outdoing Crank in terms of non-stop action while still not skimping on style or substance. Greengrass is a raw intellectual when it comes to this espionage business and shoots the action so brilliantly that as I’m writing my review, I’m still catching my breath. It’s a wild, intelligent, and fun ride that brings the action genre back down to earth and captures both the realism and the stylistic escapism required to have a great spy movie. It’s just great.

9/10