Jason Bourne (2016)
★★ / ★★★★
“Jason Bourne,” written by Paul Greengrass and Christopher Rouse, is like a mediocre greatest hits collection in that it plucks a few of the best elements from the excellent first three films and repackages them in a less inspiring way. While a smile was drawn on my face upon seeing Matt Damon playing the enigmatic title character after ten years, the writing does not offer enough good reasons to get viewers to invest once again in the bone-crunching journey of the amnesiac assassin.
The plot is propelled by an ally, Nicky Parsons (Julia Stiles), hacking into U.S. government files and discovering that Bourne’s father was involved in establishing Operation Treadstone, CIA’s black ops program where recruits are trained to become highly effective assassins. Although Bourne has learned that he signed up for the program voluntarily, there is new evidence that perhaps Bourne, previously named David Webb, was in fact manipulated to join. Meanwhile, the CIA director, Robert Dewey (Tommy Lee Jones), is preparing to launch a similar hitman program named Iron Hand and requires the help of a young entrepreneur (Riz Ahmed) in order to spy on the users who use his technology.
There is only one standout action sequence and it is shown early in the picture. It takes place during a night riot in Athens, Greece where Parsons and Bourne decide to meet so the former can inform the latter what she has found. Great tension is eventually established because director Greengrass’ handheld technique is married with the increasingly violent protest while Bourne and company weave themselves in and out of tricky situations. We get the impression we are participants in, not merely viewers of, the action. The sequence reaches its peak when Parsons and Bourne, on a motorcycle, are chased by an assassin (Vincent Cassel) in a car. Extremely sharp turns, teeth-chattering stairs, and pedestrians appear to be everywhere.
I enjoyed that the hitman this time around is relevant from the beginning till the end of the picture. In previous films, they are disposed of during the second or right before the third act—and so we expect the same to happen here. Cassel has always had a knack for playing cold, lethal men—and he is rock solid here—but an argument can be made that the asset could have been a more effective and memorable villain given his role in the new information Parson has come upon. The duel between Bourne and the asset is appropriately brutal but expected.
The final action sequence in Las Vegas becomes more disappointing the longer one thinks about it because such lack of realism has no place in the Bourne movies where less is often more. The vehicular chase down the Strip is similar to that of the later “Fast and the Furious” films in terms of its excessiveness to the point of disbelief. While such an approach works for that franchise, it does not work here. Compare the Vegas chase to the Moscow chase in Greengrass’ “The Bourne Supremacy.” It is clear that latter is much better in framing the action and translating the balance between suspense and thrills.
While still classier than many action-thrillers to come out of Hollywood, being passably entertaining is not good enough for this franchise because the bar is set so high. The acting and technical elements like camerawork, use of score, and editing are in a good place, but the writing is a big disappointment, failing to inspire itself and despite itself.