Rating: *** 1/2 out of ****
2004 boasted one of the better batch of summer offerings in recent memory, and The Bourne Supremacy stood tall and mighty above the rest (well, almost all, Shrek 2 was another great movie), proving that it's still possible for Hollywood to make a gripping action thriller that doesn't rely on CGI or gimmicky concepts. This film is actually superior to its predecessor (a fine film in its own right), moving at an even faster pace, delivering even more kinetically-charged action sequences, and sporting a plot that's more intriguing and rife with conflict.
Picking up two years later where the original left off, former government assassin Jason Bourne (Matt Damon) is still trotting the globe with his girlfriend Marie (Franke Potente), hoping he's put his sordid past behind him. But at the behest of a mysterious employer, a Russian hit-man (Karl Urban) tracks him down, killing Marie and leaving Bourne for dead. There are even further complications, as Bourne has been framed for the murder of two CIA operatives, thus pitting agency deputy director Pamela Landy (Joan Allen) on his trail. As Bourne tries to evade the CIA and discover the reasons for why he's been framed, past memories continue to haunt him and may even bear connection to his current dilemma.
The Bourne Supremacy is structured in much the same manner as its predecessor, giving us an anti-hero who finds himself the target in a mystery he must unravel, meanwhile trying to piece together his past. In between the expository/character scenes are heaps of slick, thrilling action scenes which, despite the familiarities in their set-ups, are more than adequate proof that martial arts battles and car chases can be exhilarating if executed with precision and a fresh eye. The Bourne Identity accomplished such a task so effortlessly I feared this follow-up would only seem like a pale imitation, but I'm glad my apprehension was unfounded. Director Paul Greengrass surpasses what Doug Liman accomplished, filming and editing almost the entire picture with relentless energy through gritty camera-work and quick edits.
Far and away the film's standout sequence is its climax. In fact, those disappointed by Identity's lack of a big action finale will find little to gripe about with Supremacy's concluding setpiece, one of the wildest, most exhaustingly thrilling and memorable car chases ever filmed. I don't usually give this much attention to just one scene, but Greengrass brings everything together perfectly during this chase through frenetic filming and editing and employing genuine automotive stunts in favor of CGI-laden crashes. Only Zack Snyder's Dawn of the Dead featured a more thrilling climax in any film this year.
But even with the first-rate action, what makes Supremacy such an effective thriller is Matt Damon, who provides an unconventional and even morally ambiguous but likable protagonist. Bourne is easily more intriguing than both James Bond and Ethan Hunt combined. Should the franchise extend beyond Damon's involvement, it'll be a difficult task for his successor to match his work in the past two films. The supporting cast doesn't have nearly as much to work with as Damon, but acquits themselves admirably, particularly Joan Allen (looking more attractive with each passing year) and Franka Potente.
The story admittedly boasts some questionable logic; why would Bourne bother checking into that one hotel when it'd be much easier and would draw far less attention to him if he just snuck in? I grant that his move may have been intentional, but with more risk than was necessary. I also have no idea how one of the film's villains (whose identity is a surprise) planned on getting away with that murder he committed. But on the whole, the plot is engaging and the mystery builds to a surprisingly emotionally satisfying resolution. Here's to hoping The Bourne Ultimatum can deliver just as terrific a mix of action, plot, and suspense.
2004 boasted one of the better batch of summer offerings in recent memory, and The Bourne Supremacy stood tall and mighty above the rest (well, almost all, Shrek 2 was another great movie), proving that it's still possible for Hollywood to make a gripping action thriller that doesn't rely on CGI or gimmicky concepts. This film is actually superior to its predecessor (a fine film in its own right), moving at an even faster pace, delivering even more kinetically-charged action sequences, and sporting a plot that's more intriguing and rife with conflict.
Picking up two years later where the original left off, former government assassin Jason Bourne (Matt Damon) is still trotting the globe with his girlfriend Marie (Franke Potente), hoping he's put his sordid past behind him. But at the behest of a mysterious employer, a Russian hit-man (Karl Urban) tracks him down, killing Marie and leaving Bourne for dead. There are even further complications, as Bourne has been framed for the murder of two CIA operatives, thus pitting agency deputy director Pamela Landy (Joan Allen) on his trail. As Bourne tries to evade the CIA and discover the reasons for why he's been framed, past memories continue to haunt him and may even bear connection to his current dilemma.
The Bourne Supremacy is structured in much the same manner as its predecessor, giving us an anti-hero who finds himself the target in a mystery he must unravel, meanwhile trying to piece together his past. In between the expository/character scenes are heaps of slick, thrilling action scenes which, despite the familiarities in their set-ups, are more than adequate proof that martial arts battles and car chases can be exhilarating if executed with precision and a fresh eye. The Bourne Identity accomplished such a task so effortlessly I feared this follow-up would only seem like a pale imitation, but I'm glad my apprehension was unfounded. Director Paul Greengrass surpasses what Doug Liman accomplished, filming and editing almost the entire picture with relentless energy through gritty camera-work and quick edits.
Far and away the film's standout sequence is its climax. In fact, those disappointed by Identity's lack of a big action finale will find little to gripe about with Supremacy's concluding setpiece, one of the wildest, most exhaustingly thrilling and memorable car chases ever filmed. I don't usually give this much attention to just one scene, but Greengrass brings everything together perfectly during this chase through frenetic filming and editing and employing genuine automotive stunts in favor of CGI-laden crashes. Only Zack Snyder's Dawn of the Dead featured a more thrilling climax in any film this year.
But even with the first-rate action, what makes Supremacy such an effective thriller is Matt Damon, who provides an unconventional and even morally ambiguous but likable protagonist. Bourne is easily more intriguing than both James Bond and Ethan Hunt combined. Should the franchise extend beyond Damon's involvement, it'll be a difficult task for his successor to match his work in the past two films. The supporting cast doesn't have nearly as much to work with as Damon, but acquits themselves admirably, particularly Joan Allen (looking more attractive with each passing year) and Franka Potente.
The story admittedly boasts some questionable logic; why would Bourne bother checking into that one hotel when it'd be much easier and would draw far less attention to him if he just snuck in? I grant that his move may have been intentional, but with more risk than was necessary. I also have no idea how one of the film's villains (whose identity is a surprise) planned on getting away with that murder he committed. But on the whole, the plot is engaging and the mystery builds to a surprisingly emotionally satisfying resolution. Here's to hoping The Bourne Ultimatum can deliver just as terrific a mix of action, plot, and suspense.