The Bourne Ultimatum (2007)

I've been putting this off a long time, because unlike most viewers, I got very little out of the first two Bourne entries. The Bourne Identity struck me as an odd combination of stark and semi-comically unrealistic; despite my viewing in a theater, even the car chase failed to excite me. The Bourne Supremacy, which introduced more popular director Paul Greengrass to the franchise, was too bleak to provide much fun, and I kept getting déjà vu. Fans of the third have described it as almost too intense, and less generous critics have said it is too intense (and has no actual ultimatum). Nevertheless, between its Academy Awards and its continual placement on the IMDb top 250, the threequel seemed necessary for my cinematic education.

The Netflix jacket would have you believe that the only new elements are a few moderately famous actors and several major cities on three continents, but I can do a little better at summarizing. The titular rogue secret government assassin (Matt Damon) has apparently kept a low profile for weeks following the Moscow events in TBS. Then a Guardian journalist writing about him reveals insider knowledge of one Operation Blackbriar, getting his attention -- and, less welcomely, that of the CIA. With fresh clues and the cooperation of a disenchanted operative (Julia Stiles), Jason Bourne resumes his search to fill the sizable holes in his memory, all the while evading or fighting the agency led by Noah Vosen (David Strathairn) and, more sympathetically, Pamela Landy (Joan Allen).

Yeah, still not a whole lot of innovation. Heck, the fact that the CIA refers to two different hitmen as "the asset" shows little regard for creativity. I thought maybe we're not supposed to see those guys in too human a light -- they're both silent and, um, non-white -- but we do learn their names, and they could have gotten proper code names.

Furthermore, I still hate the cinematography, what with Greengrass's shaky camera, odd angles during quiet moments, and one of the worst cases of blue-and-orange syndrome I've ever seen. I don't care what that last element does for contrast; it's ugly and boring to look at. (The last descriptor may sound silly coming from someone who watches black and white films often, but at least they usually have an excuse.)

On the plus side, while Bourne basically never smiles and has trouble keeping live allies, he has become more fun to watch. I'm finally recognizing his reputed MacGyver-like resourcefulness from time to time. In general, he runs circles around those who pursue him -- not that it's always easy for him. I think the fight choreography has improved as well.

Another thing I've grown to like is the scoring. I actually sat thru the end credits just to hear the last of the music.

In truth, I didn't find it anywhere close to too intense. Maybe that comes of waiting nine years; I wouldn't be surprised if other action movies took cues from this one. (James Bond did, but not in intensity.) Maybe there's a big difference when you see it on a small screen. Or maybe, for all the improvements in my estimation, I still take only mild interest in what happens plotwise.

I'm sure I would've appreciated the story more if I had a better memory of the previous entries. TBU makes several allusions to past characters and events. At least I never got downright lost like in TBS, whether thanks to less complication or less boredom.

Ultimately (heh), TBU is indeed the best of the first three Bourne flicks -- which brings it up to average for the genre in my book. I'll pass on The Bourne Legacy and Jason Bourne.