Even though I haven’t see Rush Hour 3 quite yet as I write this, I’m going to go out out on a limb and declare this the best of summer 2007’s numerous “threequels.” The Bourne Identity and Bourne Supremacy were above-average thrillers that avoided most of the tropes of the action-thriller genre. The main character, Jason Bourne (Matt Damon), had an unusual back-story involving memory loss and self-doubt. He is powerful, extremely observant, and smart, but not flashy or cocky. Still trying to figure out the truth about his CIA past, he is vulnerable. At first he tries to enlist the aid of a London-based reporter who’s reporting on the death (in the earlier movie) of Bourne’s girlfriend, but soon he finds his real target, the head of a CIA “deep cover” unit played by the reliable David Strathairn. Rather than cooperating with the Russians or some such, Strathairn is inspired by his belief that the need to protect Americans justifies extreme methods of training its agents, which brief but chilling flashback segments reveal were used on Bourne. Bourne’s onetime nemesis, now potential ally, in the agency, deputy director Pam Landy, is again played by Joan Allen.
The screenplay, primarily by the returning Tony Gilroy, is certainly solid. It’s important that the action occurs in the context of a character-driven story arc, which is finally resolved. However, what elevates the film to greatness is Paul Greengrass, who in between directing The Bourne Supremacy and this film made United 93, an equally great elegy for September 11. This is a very different film, but his quasi-documentary style is recognizable. Close-ups, hand-held cameras, and the naturalistic use of sound and movement increase the immediacy and realism of the action sequences, which are frequent and exciting. With his lead character now in Moscow, now in Turin, now in Madrid, etc., Greengrass literally cuts to the chase over and over.
The climax, perhaps, is a dizzying sequence shot in Tangiers, where Bourne tries, on foot and by motorcycle, on rooftops and blacktops, to evade both the CIA and the local police while trying to protect another agent. The excitement comes from near-constant tension rather than violence. The body count is fairly low, and Bourne more often wounds than kills. The chases figure into the plot and aren’t just set-ups for explosions and mayhem. There are only a few quiet moments, but Bourne’s sit-down with agent Nicky Parsons (Julia Stiles) conveys, without much dialogue, pages of literary exposition.
In sum, if you don’t like this movie, you probably don’t like suspense thrillers.
IMDB link
reviewed 8/10/07
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