The Great Wall is the most expensive film in Chinese history and the first major co-production between an American film studio and a Chinese-owned studio. While Matt Damon is the name above the title, it’s filled with recognizable Chinese stars, like Andy Lau, Eddie Peng, and pop star Lu Han. China’s most renowned action filmmaker, Zhang Yimou, serves as the director. It has the look and feel of a Hollywood special effects epic but it’s very much a Chinese film in ownership and execution, perhaps marking a new synergy of East meets West blockbusters. With a whopping budget of $150 million, the same as the last Star Trek movie, it looks like a typical Hollywood big-budget epic with visual spectacle and sweeping vistas. It’s up to the viewer whether a majority-Chinese production successfully imitating Hollywood middlebrow action spectacle is a brave step forward or just another source for mediocrity.
In the 11th centruy, traveling European mercenaries William (Damon) and Tovar (Game of Thrones’ Pedro Pascal) are looking for black powder, an explosive substance that’s worth serious money back home. A mysterious feral creature attacks them and William cuts off the beast’s hand, taking it as a trophy. The Nameless Order, Chinese military officials stationed at the titular great wall, capture them and want to know exactly how these foreigners were able to defeat this beast. Legend states that long ago a meteor crashed to Earth, and with it came a horde of green monsters with big teeth lead by a queen that psychically controls her thousands of attack drones. Every 60 years the creatures emerge searching for food for their ravenous appetites. The Imperial City must be protected at all costs and that is why the wall was constructed. Lin Mae (Tian Jing) is thrown into command when her male superiors are killed, and she relies upon her unexpected Western allies to throw back the evolving horde of monsters.
As the first major big-budget collaboration between studios in China and the United States, The Great Wall feels like something that would have escaped from the 1990s era of tentpole filmmaking, and it’s clearly a paycheck film for all involved. Now that doesn’t condemn in either regard. There’s a certain charm to the relatively dumb sci-fi action movies that started being prepped with steady regularity in the 1990s when advancing special effects made it possible for hordes of CGI monsters to thwart. There’s an obvious point of engagement that crosses all translations: man versus monsters. The film even somewhat admirably knows its own ridiculousness and embraces it. I was reminded of the go-for-broke silliness of Jerry Bruckheimer’s movies like National Treasure’s positing that maybe, just maybe, there’s a treasure map on the back of the Declaration of Independence. This feels like the biggest budget Asylum movie you can imagine, and that in itself is not necessarily a problem. However, because of the mechanical nature of so much of its storytelling and the safe territory it resolutely occupies, The Great Wall is a mediocre monster movie that aims right down the middle for cross-continental mass appeal and nothing more. I’m almost certain that Damon had to have been paid $20 million dollars to justify his participation. The actors and the director go about their business in a professional manner but you feel the lack of passion. It’s a film looking to appeal to the most people and losing any sense of distinction.
Credit director Yimou (Hero, House of Flying Daggers) for keeping the film on life support, providing just enough action variety and pleasing visuals to stir an audience awake. The monsters are introduced very early into the film, around the twenty-minute mark, and their CGI horde definitely presents a worthy challenge. In fact they feel too overwhelming in their numbers. Early on we see that the ferocious creatures, which closely resemble the Ghostbusters demon dog painted green, are hard to kill outside of a straight shot to their shoulder-eyes (they have eyes on their shoulders… because…). The first creature that successfully scales the wall takes out a slew of Chinese warriors. If one of these things is that hard to kill, how in the world can a limited number of people, even with high ground, defend against a sea of a hundred thousand? The mismatched numbers deflate the stakes and lessen the tension, which isn’t helped from subpar characterization. The world building is certainly hazy (Why do they come out once every 60 years? Why do magnets affect them? Why all the effort for small food supplies?) and some of the elements feel inserted just for their “cool” factor. A group of female warriors bungee jump off platforms to spear the monsters, but why is this necessary when we’ve already seen that China has fiery projectiles that are far more effective? It is cool though.
Thankfully a movie with little going for it other than spectacle at least knows to vary up its action sequences. Each encounter with one of the monsters is structured differently. The best sequence may be William and Tovar navigating through a blinding fog and relying upon the sounds of whizzing arrows to alert them to approaching hungry monsters. It provides some fun tension and pop-out moments. There’s a beautiful sequence commemorating a fallen friend with the launching of hundreds of floating lanterns. The concluding sequence involves our remaining characters climbing to the top of a pagoda lined with stained glass. As the characters rush up flights of stairs, the screen is lovingly diluted with colored shafts of light, which also add extra visual flourishes when the monsters begin to leap through the glass level by level. Yimou’s use of color has always been a hallmark of his career and it translates even into the color-coded amour of the different divisions of the Nameless Order. They look like ancient Power Rangers. While lacking a great deal of overall tension due to its predictable nature and dull characters, there are fleeting moments of suspense drawn out in individual action set-pieces. The overall movie is generally unremarkable CGI carnage reminiscent of a too-late Lord of the Rings rip-off, and yet there’s at least a general professionalism to its unremarkable CGI carnage.
Early on the movie was hit with accusations of whitewashing, and given Hollywood’s recent track record with the likes of Exodus, Aloha, and Gods of Egypt, it would be entirely conceivable that producers felt Damon needed to be a white savior role. That’s not the case at all and in fact the Chinese forces are shown to be flawless specimens. Damon’s character is the out-of-place European (complete with hard to place accent) who represents selfish and arrogant Western attitudes. He’s routinely awed by the ability and precision of the Chinese warriors, who dutifully sacrifice for the greater good and safety of others they will never know. They are symbols of power, teamwork, courage, strength, and dignity. The lessons can be rather blunt (a woman… in charge?!). The portrayal of the Chinese forces is so honorable and so empowered that they come across as boring moral paragons without an ounce of traceably human nuance. They don’t come across like characters so much as interchangeable warriors, and so when they start dying one-by-one their sacrifices ultimately leave little impact. It turns out that the non-Chinese actors, Damon and Pascal, supply the most interesting characters because their roles are allowed personality, basic moral ambiguity, and inner conflict beyond a sense of duty and the requirements of achieving that duty. The Great Wall drafts off Damon’s worldwide star power to teach him a lesson about Eastern values. It certainly presents China and Chinese characters in a very positive perspective, but being so broad sanitizes their humanity and transforms people into boring paragons.
Given the pedigree of those involved, it’s completely expected to be underwhelmed by the end results of such an expensive East meets West collaboration. The Great Wall is ultimately too safe and stately to satisfy beyond generic genre thrills; lowering one’s expectations is highly advised in order to properly appreciate the goofy action spectacle. The Great Wall of China being constructed to protect from a horde of ravenous, possibly extraterrestrial monsters is certainly a silly premise, but the movie doesn’t pretend it’s anything than what it is, a large-scale monster movie with a sense of fun. It’s not soaked in deconstructive irony or meta commentary. Instead, The Great Wall is a straight-laced action spectacle that treats its absurdity with conviction. It’s not much better or worse than other empty-headed big-budget action cinema from the Hollywood assembly line, but is that progress? Is making an indistinguishable mediocre B-movie a success story?
Nate’s Grade: C
In the opening text crawl for Star Wars Episode IV: A New Hope, it says, “During the battle, Rebel spies managed to steal secret plans to the Empire’s ultimate weapon, the Death Star.” Disney, in its infinite wisdom to cash in on every potential resource of its lucrative cash cow, has decided to devote a whole movie to that one sentence in that initial crawl. I can’t wait for each sentence to get its movie. Rogue One: A Star Wars Story (in case you’d forget) is the first film outside of any of the trilogies and much is at stake. Not just for the rebels but for Disney shareholders. If a wild success, expect future tales coming from every undiscovered corner of the Star Wars universe. And if Rogue One is any indication, that’s exactly the kind of artistic freedom needed to blossom.
Jyn Erso (Felicity Jones) has plenty to rebel against. Her father (Mads Mikkelsen) was forced against his will by Orson Krennic (Ben Mendelsohn) to work on a fiendish death machine for the Empire. Jyn’s father is responsible for designing the Death Star. Jyn is broken out of imperial prison by Cassian (Diego Luna) for the Rebellion. They want her to track down her father, find out whatever she can about this new fangled Death Star, and if possible, retrieve the plans on how it might be stopped. Her mission will take her to the ends of the galaxy to reunite with her father and to provide hope to the Rebellion.
Finally after many films we finally get a war movie in a franchise called Star Wars, and it’s pretty much what I wanted: a Star Wars Dirty Dozen mission. It’s thrilling to go back to the height of the resistance against the Evil Empire and see things from a ground perspective with a skeleton crew working behind the scenes. We may know the future events of those Death Star plans but we don’t know what will befall all of these new characters. Who will make it out alive? The open-and-shut nature of this side story in the Star Wars universe brings a bit more satisfaction by telling a complete story. This film will not have to wait for two eventual sequels years down the road in order for an audience to form a comprehensive opinion. I welcome more side stories like Rogue One that expand upon the fringes of the established universe and timelines, that establish colorful new characters and tell their own stories and come to their own endings, and hopefully don’t feature any more Death Stars (more on this below). It seems like it was ages ago that major studio tentpoles just attempted to tell a single, focused story rather than set up an extended universe of other titles to nudge along their respective paths. Director Gareth Edwards (2014’s Godzilla) is less slavishly loyal to the mythos of the series than J.J. Abrams. His movie doesn’t feel like flattering imitation but its own artistic entry. The cinematography is often beautiful and the natural landscapes and sets provide so much tangible authenticity to this world. Edwards has a terrific big-screen feel for his shot compositions and achieving different moods with lighting. He knows how to make the big moments feel bigger without sacrificing the requisite popcorn thrills we desire.
Rogue One has to walk a fine line between fan service and its own needs. While it’s fun to see Darth Vader on screen again voiced by the irreplaceable James Earl Jones, it’s also a bit extraneous other than some admittedly cool fan service. We don’t need to see Vader clear out a hallway of Rebel soldiers but then again why not? It’s the same when it comes to the inclusion of cameos from the original trilogy. Some are minor and some are major, achieved through the uncanny valley of CGI reconstruction. Gene Kelly may have danced with a vacuum cleaner and Sir Lawrence Oliver and Marlon Brando both appeared as big floating heads after their deaths, but this feels like the next step beyond the grave. There’s a somewhat ghastly feel for watching a dead actor reanimated, so your sense of overall wonder may vary. The cameos are better integrated than the Ghosbusters ones.
There’s a great cinematic pleasure in putting together a team of rogues and rebels. The characters on board this mission have interesting aspects to them. Chirrut Imwe (Donnie Yen) is a blind warrior and aspiring Jedi. He feels like he stepped out of a great samurai movie. He uses his connection with the Force to make up for his lack of visual awareness, and Chirrut demonstrates these abilities in several memorably fun instances. There’s a world of back-story with Saw Gerrera (Forest Whitaker), a dotty wheezing warrior who is more machine than man at this point. Whitaker gives an unusual performance that reminded me of a kindlier version of Dennis Hopper in Blue Velvet. The reprogrammed robot K-250 (vocal and motion-capture performance by Alan Tudyk) is a reliable source of catty comic relief and I looked forward to what he was going to say next. The first 40-minutes is mostly the formation of this group, and it’s after that where the movie starts to get hazy. We know how it’s all got to end but the ensuing action in Act Two feels a bit lost. This may have to due with the reportedly extensive reshoots that were done last summer to spice up the movie (much of the earliest teaser footage isn’t in the finished film). I’d be fascinated to discover what the original story was from Chris Weitz (Cinderella) and just what rewrites Tony Gilroy (Michael Clayton) performed so late into its life. For much of the second act, the characters feel a bit too subdued for the life-or-death stakes involved, and that translates over to the audience. We travel to different locations throughout the first two acts but I can’t tell you much about them other than some intriguing mountainous architecture. The plot is a bit too undercooked and still obtuse for far too long, requiring our team to bounce around locations to acquire this person or that piece of information. Rarely do the characters get chances to open up.
It all comes together in the final act for a 30-minute assault that makes everything matter. It’s a thrilling conclusion and the movie finds a way to keep escalating the stakes, bringing in powerful reinforcements that force our Rogue One crew to alter their plans and placement, while still clearly communicating the needs of each group and the geography as a whole of the multiple points on the battlefield. It’s what you want a climactic battle to be and feel like where each player matters. It’s also a welcome addition to the Star Wars cannon, as we’ve never seen a beach assault before. It feels like a new level that was unlocked in some video game, and that’s no detriment. The ending battle has different checkpoints and mini-goals, which allows for the audience to be involved from the get-go and for the film to jump around locations while still maintaining an effective level of suspense. Many of these characters make something of a last stand, and you feel the extent of their sacrifice. I read in another review that the reason Jyn and her rogues win is because they accept that they are replaceable, and Orson Krennic fails because he made the mistake of believing himself irreplaceable. I think that’s a nice summation about the nobility of sacrifice. I won’t get into specific spoilers but I was very pleased with the ending of the film even though it’s not exactly the happiest. It feels like a fitting ending for the darker, grittier Star Wars tale and it provides earned emotional resonance for the setup of A New Hope, which this movie literally rolls right into.
With as many fun and potentially interesting characters aboard for this suicide mission, it’s somewhat surprising that they are also the film’s weak point. Beyond simple plot machinations like Character A gets Character B here, I can’t tell you much more about these rogue yet noble folks other than their superficial differences. Take for instance the Empire turncoat, pilot Bodhi Rook (Riz Ahmed) What personality does he have? What defines him? What is his arc? What about Cassian? He’s supposed to secretly assassinate Jyn’s father if given the chance, but do we see any struggle over this choice? Does it shape him? Does his outlook define his choice? Can you describe his personality at all whatsoever? What about the villain, Krennic? Can you tell me anything about him beyond his arrogance? What about Baze Malbus (Wen Jiang), who carries a big gun and is close friends with our blind wannabe Jedi. Can you tell me anything about this guy beyond that? Even our fearless leader, Jyn Eros, feels lacking in significant development. She wants to find her father, get vengeance, but then changes her mind about sacrificing for the greater cause of hope. Many of the character relationships jump ahead without the needed moments to explain the growth and change. The original trilogy was defined by engaging characters. When you have a ragtag crew of six of seven rogues, you better make sure each brings something important to the movie from a narrative perspective, and not just from a pieces-on-the-board positioning for action. Look at Marvel’s Guardians of the Galaxy for tips. If this was going to be a powerful and emotionally involving war movie, the characters needed to be felt deeper. All too often they get lost amidst the Star Wars debris and then they become debris themselves. Ironically enough, Rogue One has the reverse problems of The Force Awakens, a movie that benefited from engaging characters but sapped from an overly familiar and cautious story. It’s telling when my favorite character, by far, is a sassy comic relief robot.
Let’s talk about the Death Star in the room, namely the fact that over the course of eight Star Wars movies there have been Death Stars, or the construction thereof, in five of them (63% rate of Death Star sighting). We need a break. You can cal it a Star Killer Base whatever in Force Awakens but it’s still a Death Star in everything but name. I can’t even put a number to the amount of money it cost the Empire/First Order to build these things, plus the review process to try and correct design flaws that never seem to get corrected. At this point it feels like this model just isn’t cost-efficient for its killing needs. What about a more mobile set of multiple mini-Death Stars? I hope that the filmmakers for the new trilogy (Rian Johnson, Colin Trevorrow) refrain from putting another similar planet-killing space station-type weapon into their movies as we’ve had enough. However, the use of the Death Star in Rogue One was perfectly acceptable because it already fit into the timeline of the first film. I also greatly appreciated the clever retcon as to why the Death Star had its fatal flaw. It took a bothersome plot cheat from 1977 and found a gratifying and credible excuse. Now when Luke blows up that sucker it’ll have even more resonance.
Rogue One is a Star Wars adventure that feels like its own thing, and that’s the biggest part of its success. By being a standalone story relatively unencumbered by the canonical needs of hypothetical sequels, the movie opens up smaller stories worth exploring and characters deserving a spotlight. This is an exciting and entertaining war movie, and the kind of film I want to see more of in this multi-cultural universe. It’s not a faultless production as the lackluster character development definitely hampers some audience investment. I wish more could have been done with them before they started being permanently taken off the board. While Rogue One is looking to the past of Star Wars it still makes its own independence known. I hope this is the start of a continuation into exploring more of that galaxy far far away without the required additions of every Skywalker and Solo in existence. It’s a far bigger universe and it needs its close-up.
Nate’s Grade: B
The Jason Bourne spy series has been a financial wellspring for Universal studios, so when Matt Damon and director Paul Greengrass (United 93) decided they had enough spy capers and hijinks, you can understand the studio’s concern. They elevated Tony Gilroy, a writer from the beginning of the series, to director. Gilroy has done some well-received directing gigs of his own now (Michael Clayton), so his ascent made sense from a continuity standpoint. I did wonder how much liberty the studio was going to give him, whether he was going to be boxed in to a style that had worked for the series. I never knew I should have had bigger misgivings, namely that The Bourne Legacy would ransom its conclusion and force the audience to make Legacy a hit.
Apparently Jason Bourne wasn’t alone. The C.I.A. has a team of six different super agents, each undergoing rigorous training and chemical alterations to their DNA via a series of daily pills. Aaron Cross (Jeremy Renner) is out in the Alaskan wilderness when the C.I.A., led by Col. Eric Byer (Ed Norton) and Adm. Mark Turso (Stacy Keach), burn all their agents. They plan on starting over and that means eliminating all evidence of the spy program that gave birth to Bourne. That means Cross has to go as well. That also means the chemists and scientists working on the program must also be silenced permanently, and Dr. Marta Shearing (Rachel Weisz) narrowly escapes a workplace shooting. Cross seeks her out for her medical expertise. They both have a common enemy that wants them dead. Together, the duo heads over to Manila where Shearing’s company manufactures the super meds and so Cross can become a permanent super agent.
What the hell did I just watch? I know it’s labeled The Bourne Legacy. That part I get. What I don’t understand is that the filmmakers are trying to extort the viewing public into granting a Legacy sequel. Let’s cut to the chase. This movie has no ending. I don’t mean a bad ending. This movie is completely absent an ending. Not just an ending but also a third act. It’s like the filmmakers lopped off the third act and said, “If you want to see where this story ends up, you better get us a sequel.” There is no resolution for ANY STORYLINE in the entire movie. None. The good guys are still scrambling, figuring out how to blow the big bad conspiracy. The big bad conspiracy is still alive and kicking. The patsy for their wicked shenanigans is still the patsy. There is nothing that can be construed as an ending. At least the Damon Bourne movies each had a beginning, middle, and end and tied up their film plots. Sure the characters carried over and there were some larger, overarching storylines, but at least those movies felt complete. The Bourne Legacy is badly incomplete, a gaping void of a third act, and a blunder that makes me question the sanity of the filmmakers. How could you make a big budget summer action movie and not provide any semblance of closure? When the Moby tune kicked in on the soundtrack, I sat stunned, pinned to my seat in disbelief. “No, it can’t be over. They couldn’t possibly just end things here.” Oh, and they do. So enjoy 2/3 of a movie, folks.
With the anticlimactic end in mind, I now understand why the first hour felt so draggy. It’s because they had to fill out a two-hour running time. Especially for the Bourne franchise, the first hour seems to really be paced lackadaisically. For an action movie, it sure takes its time to get going. I wouldn’t have minded if I felt like we were setting up something exciting, but really the story is about a super agent who just wants to get his meds. He travels across the U.S. and the world so he can get his pills, and then he does, and then the movie abruptly ends. I’m simplifying matters in a crass way, I admit, but doesn’t this storyline just feel a tad slight? Legacy also starts to feel like a retread when it comes to its plot mechanics. The C.I.A. is burning all their super spy agents through suicide pills. They are destroying everything before Congressional oversight can reveal their true dastardly deeds. But then we need an antagonist, right? So the government goons reveal they have a SECOND even more super secret program to train super assassins/spies (“It’s Treadstone without the inconsistencies”). How far are they going to take this? Is there going to be a third super duper ultra secret level of killer spies? It’s repeating the same steps the franchise has already taken, the expert spy vs. spy clashes, but now it’s starting to get silly in a way the franchise had previously avoided.
The action sequences are serviceable but they’re not any better than what the franchise has produced before. Cross has a few nifty escapes but nothing that reminds you of Jason Bourne’s sheer ingenuity. What other man can take down bad guys simply with a rolled up magazine or a book? Aaron Cross just can’t compete with that. The final motorcycle chase is nice but it just seems to be repeating the same danger with little variation. The best action sequence is actually a bit macabre. It involves a workplace shootout. To even call it an action sequence is a bit of a disservice since it’s actually a tense and horrific scenario that is coming eerily all too familiar in the news. Weisz’s character has to hide while her co-worker methodically guns down his fellow lab workers. Oh, and he also took off the door handles, making it dire for help from the outside to get inside. It’s a horrific sequence that’s played out to stomach-knotting levels of tension, as the dread slowly mounts and the pessimistic inevitability looms. Now, obviously Weisz was going to survive, as we know this, but the sequence still resonates with real, primal terror.
So what does The Bourne Legacy have going for it in its favor? Well the duo of Renner and Weisz is a pretty good pairing. Renner (The Hurt Locker) has been rolled out as the next thinking man’s action hero, and he finds interesting depth to his spy character in a rather routine plot. But he’s even better when he’s onscreen with Weisz (The Constant Gardener). There’s plenty of shouting matches and intensity but they have workable chemistry and Weisz’s character gets to be an essential part of the spy heroics rather than a tagalong. I cannot fault the actors for the film’s flaws.
I understand why the Universal suits felt like they needed to pump new blood into their lucrative Bourne franchise. After a while, an amnesiac super spy is going to hit a breaking point; he’s going to run out of essential memories to recall (Bourne 5: where Jason Bourne gets back the memory that he does not like Indian food). I like Renner and Weisz. I even like Tony Gilroy as a director. What I do not like is only getting 2/3 of a movie. Whose bright idea was it to just lop off the third act and provide no resolution? The ending is so unbelievably jarring, so staggeringly incompetent, that I have to dock this movie major points. I can’t say the ending out and out ruins the film considering I was only marginally liking it beforehand. The Bourne Legacy is proof that sometimes imitation is not the best substitute for ingenuity. Gilroy is no Greengrass. Cross is no Bourne. Legacy is no complete movie.
Nate’s Grade: C+
This is the kind of slick, breezy fun that Hollywood seems to have forgotten how to make, or at least forgotten to make well. Writer/director Tony Gilroy has concocted an entertaining movie headlined by movie stars clearly having a blast. Gilroy’s narrative routinely folds back on itself with plot reversals, supplying new perspectives to the ongoing con/heist involving Clive Owen and Julia Roberts as ex-spies and current lovers. The movie itself is one long, pleasing con that manages to stay a step ahead of the audience without coming across as too confusing or dull. The tricky, twisty plot means that the audience must constantly reevaluate the movie, meaning that watching Duplicity can be described as less involving and more like an assignment. Gilroy is a sophisticated wordsmith and he has been knocking out crafty, intelligent adult movies, from the Bourne franchise to 2007’s Michael Clayton. The man probably spent too much effort trying to keep an audience on its toes. The audience becomes keenly aware of the plot structure, and we know it’s only a matter of time (usually 10-15 minutes) before another flashback reveals something else that will change the rules of the game. Still, the movie benefits from fantastic character interplay between Owen and Roberts and a superb supporting cast lead by Tom Wilkinson and Paul Giamatti as scheming corporate scoundrels (the opening credits slow-mo fight between the two men is delightful). Duplicity is an enjoyable romp with snappy dialogue, sizzling stars, and little re-watchability once all the plot machinations play out.
Nate’s Grade: B+
A smart, suspenseful, terrifically acted corporate thriller, this movie hums along with great precision thanks to a deeply articulate screenplay by writer/director Tony Gilroy. The acting trio (George Clooney, Tom Wilkinson, Tilda Swinton) delivers sensational performances muddled with doubt and weary, nervy complexity; each comes across a full human being in what could have come across as a dull Law and Order episode. I don’t understand why Gilroy plays around with the film’s timeframe, because he spends nearly ten minutes at the end in a suspenseful car chase where we already know the outcome. There is a murder that is played against Hollywood convention; it’s quick, grimly efficient, and scary in how soon it’s all over. Michael Clayton is a first-class movie that respects the intelligence of an audience.
Nate’s Grade: A
I think the best aspect of the The Bourne Ultimatum, the third in the memory-troubled spy series, is how kinetically improvised it feels. Jason Bourne (Matt Damon) is a human weapon and he thinks constantly with his body, feeling the situation and his environment, and he comes up with improbable weapons, be them pens, magazines, or kicking ass with just a book (knowledge is power). Bourne doesn’t rely on fancy gadgets or a caustic wit; he just outsmarts the competition by reading his world and reacting instinctively, and that is thrilling to watch. The Bourne films have separated themselves from other spy series like James Bond and standout because of how viscerally realistic they play out. That said, Bourne still survives scrapes that would kill any mortal. At this point, we know just about all we need to know with most of the characters, so Ultimatum is one long, fantastic, and gripping series of chases between Bourne and the CIA operatives that want to rub him out. Ultimatum is Paul Greengrass’ (United 93) second film in the series and he enhances the excitement through his docu-drama style of shooting. The editing is constantly roving and perfectly channels the nervous wariness of a spy that is constantly looking over his shoulder. The action sequences are stellar and raft with suspense and top notch stunt work amongst exotic locales. Ultimatum tacks on some awkward political commentary (black hoods, secret CIA torture, breaking the law to “win” the battle against terror) and tries squeezing its story into a fight between Bourne and the dangerous and lawless elements of the American government that have flourished under President Bush’s watch. It doesn’t quite work in the context of a summer action movie, but thanks for trying. The Bourne Ultimatum is a spry and refreshing action movie that serves to cleanse the summer palate of huge special effects blockbusters.
Nate’s Grade: A-