The secret machinations of the most powerful intelligence organization in the world give way to the personal drama in Paul Greengrass's film, inspired by Robert Ludlum's novels, "Jason Bourne." Since most questions about Bourne's identity have faded away, we find the protagonist in a very optimistic state of mind to fight with the demons of the past. I admit that I was expecting a more original start from the clandestine fighting club, in which Jason tries to escape without much success from his dual nature. Promises of greater psychology deepen when he learns that a key role for his evil fate is accomplished by his own father. Apparently shaken by the revelations, in the early stages, Bourne looks like he is about to vomit, which makes the strokes of his psychological portrayal exhausted. But let's not be that tight. Such franchises are a pretty insidious swamp. The good news is that we get a clear message from the very beginning about the style of the movie, in which the action will dominate the plot.
Paul Greengrass repeats almost literally the Bourne's Ultimatum exercise, which means you're about to watch a two-hour video shot with a cell phone. Just kidding. The familiar visual style works flawlessly most of the time and throws you straight into the action. Despite the spectacularly conceived, accomplished and filmed pursuit in Las Vegas, my preferences go to the scenes in Athens because of their realism. Without a drop of exaggeration, the technical implementation of this part of the film can be defined as the triumph of cinema. Somehow, from the wildly moving images and insecure installation, controlled chaos is born, the impact of which is unforgettable. Here we can not miss the names of the operator Barry Ackroyd and the assistant designer Christopher Rus. The Greengrass style is also consistent with modern technologies that play a key role in history, and along with the insertion of references to current events, such as Snowden and WikiLeaks, build a credible background for history. 15 years later, Matt Damon is anything but tired of playing Jason Bourne, often called David Webb. In spite of some strangeness in the script that he is out of the frame for long periods of time, he uses the maximum opportunity to win our sympathy. This is not really easy, considering that, unlike James Bond and Ethan Hunt, Bourne is not the typical action hero. With a small amount of money, Damon does his best to be convincing as a person who recognizes his contradictory nature. We can only regret that this time there are no scenes that will more clearly define his character's drama and motivate his actions, as in previous episodes at Bourne's encounters with the killers who are following him. Traditionally, the strong selection of actors (let's not forget Chris Cooper, Joan Allen, Albert Finney, Brian Cox, David Strathern ...) reaches its peak with Tommy Lee Jones, who adds a touch of cynicism to the otherwise uncomplicated image of the CIA director. In addition to being in good shape, he has little chance of demonstrating his crowning means of expression, making it once again a center of action. With just a little more than the shade of Pamela Landi's image, the image of Tommy Lee Jones could leave an unforgettable trace in the series. At the moment, it is quite likely that you will come across a film with Alicia Vikander, so this one is no exception. The Oscar-nominated Swedish sensation gets perhaps the most interesting role in the film, but the development of the image is more of a promise for the future. Typical Scandinavian restraint is a good counterpoint to the breakthrough breakthrough in character, but for now the actress has no chance to get closer to her achievements in "Ex Machina" and "The Danish Girl". Our well known Julia Styles brings a touch of pleasant nostalgia and gives a decisive momentum to the action, but unfortunately, her role is exhausted. Disappointing, this time the image of the murderer pursuing Bourne is the white spot in history. Vincent Cassel is left to rely entirely on his own charm in a role that usually carries important messages in the story. Remarkable in itself, he does not get a chance to be remembered as Clive Owen or Carl Urban.
In contrast to Cassel, Riz Ahmed fits pretty well in the carefully crafted atmosphere of super-technology, and his character, whose face can easily be recognized by real-world personalities, carries the modern dilemma of individual freedom into an increasingly globalizing society. Although the scenes with his participation are not among the most memorable, he demonstrated the best of his acting talents that made him the star of the HBO series "The Eternal Night." As it may have become clear, the main remarks about Jason Bourne fall into the writers' garden. The plot, in which allies turn into enemies, suggests a lot of surprises, but these are almost lacking. Moreover, separate techniques, such as the glimmers of memory, with which Bourne learns important information about himself, are beginning to run out and are about to become a way to recall the previous episodes. As a fan of classic spy thrillers, my preferences continue to focus on "The Identity of Bourne," in which the plot moves the action, not the opposite. This is the only film produced by Ludlum himself, and I dare to assume that he is the model he imagined the series. Although we are talking about commercial production, it would be a good thing the relationship between appearance and content is a bit more equal.
