Riz Ahmed is excellent as Aaron Kalloor, the Zuckerbergy whizz-kid whose Deep Dream empire is building “a community that is transcending national boundaries” while insisting that “no one will be watching you”, a hollow promise compromised by a murky debt dating back to his startup days.
In between the head-spinning action we meet Alicia Vikander’s Heather Lee, a rising star of the CIA whose idealistic demeanour contrasts starkly with the old-school bullying of Tommy Lee Jones’s haggard Agency director Robert Dewey, a man whose face has the texture of hammered granite. Then it’s on to Las Vegas for a monstrous car chase that rivals the madness of both The French Connection and To Live and Die in LA, with added levels of insane collateral damage. In globetrotting fashion, the narrative nips from Langley, Virginia, home to the CIA, to Rome, to Berlin, to London, where Paddington becomes the setting for another vertiginously high-octane showdown. Twenty-five minutes in we’re exhausted, but the pace doesn’t let up. It’s a bravura sequence, a superbly orchestrated symphony of chaos, swathed in the burning ochre glow of street fires, with water cannons and motorbikes shooting across the screen. Matt Damon returns in new trailer for Jason Bourne Guardian
With Rouse cutting nimbly between cinematographer Barry Ackroyd’s handheld cameras, long-lens searches and aerial surveillance footage, Greengrass places us right in the middle of this growing state of emergency, aided by an insistently pumping score. And we’re off…Ī chase scene through an anti-austerity riot in Athens (actually shot in Tenerife) is classic Greengrass, seamlessly tying the fanciful action of the drama into the gritty soil of contemporary reportage. Meanwhile in Reykjavík, Julia Stiles is back as Nicky Parsons, accessing classified files that lend a dynastic edge to Bourne’s ongoing identity crisis, in the process inadvertently putting him back on the CIA’s radar. Bedraggled yet buff, this perennial outsider now makes an off-the-grid living as a bare-knuckle fighter, but it’s clear from his haunted gaze and propensity for flashbacks that he is heading for a “tipping point”. We catch up with our renegade anti-hero on the Greek-Macedonian border, where he flattens a burly fighter in a stripped-to-the-waist sequence that seems less Jason Bourne than Jason Statham. His speech may be sparse, but his body is expressively talkative
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Replete with heated exchanges about the pay-off between personal privacy and public order, the new movie (written by Greengrass and his long-term editor, Christopher Rouse) combines fist-fighting with cyber-stalking in impressively ruthless fashion, barrelling through its contemporary landscape like a cinematic bull in a rolling-news china shop.ĭamon injects a much needed air of humanity. Now, after reuniting on 2010’s underrated Green Zone, Damon and Greengrass are back with Jason Bourne, a breathlessly confident thriller with a self-consciously modern edge that casts its antihero adrift in a post-Snowden world of surveillance and social media.
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So successful were the Bourne movies that when Greengrass and leading man Matt Damon walked away from the Robert Ludlum-inspired series after the perfect ending of 2007’s The Bourne Ultimatum, the studio cooked up The Bourne Legacy, an empty actioner with a gaping hole where its star and soul should be, idly trading on the memory of past glories. W ith 2004’s espionage sequel The Bourne Supremacy, director Paul Greengrass changed the face of popcorn thrillers, combining the docudrama grit of Bloody Sunday with super-slick thrills that left the Bond franchise in the dust.
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