![]() ![]() ![]() There are so many car crashes that they become numbing after a while. Jason bourne screenit series#Jason Bourne is nothing if not exhausting, a series of fight scenes and chase sequences in various camera-friendly locales (London, Rome, Athens, Las Vegas). The stuntwork in the Bourne films has always been one of its charms: unlike many action films whose actors spend half their shooting days in front of a green screen, it’s less reliant on computer-generated special effects than old school practical effects and a small army of stunt professionals and drivers. The action sequences–of which there are many, this being the Bourne franchise–are well done. Jason bourne screenit crack#It’s a laundry list explaining why their bad guy is worth the trouble of mobilizing every resource, usually making the person out to be a cross between James Bond and Superman: they can crack computer codes in minutes, instantly change their appearance to be anything from a Russian wrestler to an Asian toddler, and create a bomb using only a paperclip and a damp paper towel. The scenery and acting are fine, though much of Jason Bourne is by-the-numbers thriller fare, including the obligatory “Badass Briefing,” in which important-looking people exchange biographical exposition (usually with the help of instantly-available, high-tech computer screen visuals, charts, photographs, etc.) about the subjects of their search. Another subplot involves a new CIA recruit (Alicia Vikander) whose loyalties are murky. This is of course a nod to real-world privacy concerns expressed by Edward Snowden and others, helping keep the film topical. Amid the gunfire, crowd scenes, and chases there’s a subplot about a young tech guru whose wildly popular (if largely ambiguous but presumably Facebook-like) social media app (named “Deep Dream”) is being used for CIA surveillance–or would be if director Dewey (Tommy Lee Jones) gets his way. Damon manages to maintain his magnetism as Bourne and Vincent Cassel is good as an assassin known as The Asset, who tracks Bourne for the CIA amid globe-trotting cloak-and-dagger intrigue involving stolen information. The actors are generally good and tread familiar territory. (Now that he figured that out at the end of this film, I’m dreading what Bourne’s next mystery will be as the writers must dig ever deeper into his past: Finding his lost dog? Discovering why the girl he had a crush on in eighth grade refused to go out with him? How many times can you draw from the same well to motivate a hero whose goal is to remember his past?) This time it’s his father’s role in the top-secret CIA project that turned him into a killer–a job he may or may not have willingly signed up for. That’s great for him, but a hero must have a complication to overcome, and thus the screenwriters must find another mystery from Bourne’s past to fill the following two hours. The fundamental problem with Jason Bourne as a character is that his primary motivation is to discover or remember who he was–and that has apparently happened because at the beginning of Jason Bourne he says he remembers everything. His goals are less about stopping super-villains from destroying the world and more personal: Understanding his true identity and unlocking the secrets of his past, buried by a faulty memory and/or nefarious methods. He is not a James Bond style super agent but instead is often the hunted rather than the hunter. To be fair, Damon’s Bourne has always been a low-key, subdued action hero. By this time they’re both old pros, which is both good and bad: good because the learning curve is behind them and bad because they seem on autopilot for Jason Bourne, and the end result isn’t so much bad as it is stale. Jason Bourne reunites Matt Damon and director Paul Greengrass about a decade after their film The Bourne Supremacy. ![]()
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