Review: The Bourne Ultimatum (dir. Paul Greengrass, 2007)

In this high-tech digital age, the makers of high-profile action movies sometimes like to brag about how they used real cars and real stunts — even when some of the defining images in their films couldn’t possibly exist without pixels on a screen. (Yes, Live Free or Die Hard, I’m pointing at you and that spinning airborne car that just happens to miss our hero by a hair.) But every now and then, along comes a film that really seems to have happened in front of the cameras — and The Bourne Ultimatum is just such a film.

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Review: The Bourne Supremacy (dir. Paul Greengrass, 2004)

If we forget The Chronicles of Riddick — and odds are you had until I mentioned it just now — this is turning out to be a good summer for sequels, from big-budget blockbusters like Spider-Man 2 to small art-house films like Before Sunset. Somewhere between the sensibilities of those two flicks lies The Bourne Supremacy, an intelligent, action-packed thrill ride which also has the documentary-like feel of a European travelogue. Unlike, say, the James Bond films, which are loaded with product placements and pyrotechnics, and which gravitate toward famous tourist attractions like the Millennium Dome and the Eiffel Tower, the Jason Bourne movies are filmed in a more naturalistic style, and are grounded in more mundane yet familiar locations: train stations, hotels, and housing projects that are believable precisely because they don’t seem to have been dressed up for a movie.

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