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4 items from 2007


Jolie and Pitt Team Up for TV Series

23 October 2007 | WENN | See recent WENN news »

Brad Pitt and Angelina Jolie are teaming up to produce a new TV series based on the lives of aid workers. The couple is working on a new small screen project - their first together - for TV network HBO, which will go behind the scenes of an international aid organization. The series is being written by The Bourne Ultimatum co-writer Scott Burns, who also produced An Inconvenient Truth.

»

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'Bourne Ultimatum' chases down $70.2 million

6 August 2007 | The Hollywood Reporter | See recent The Hollywood Reporter news »

Jason Bourne returns to America in his quest to discover his true identity, and North American moviegoers embraced his homecoming as "The Bourne Ultimatum" rushed to an estimated $70.2 million opening weekend.

Although Universal Pictures' propulsive chase movie dominated the frame, Buena Vista Pictures' "Underdog" found some favor with family audiences. But the weekend's other new wide arrivals, Paramount Pictures' comedy "Hot Rod" and Lionsgate's teen outing "Bratz: The Movie", received the cold shoulder.

The PG-13 "Ultimatum" -- with Paul Greengrass, who directed "The Bourne Supremacy" three years ago, again at the helm -- raced past the bows of 2002's "The Bourne Identity", which opened to $27.2 million, and 2004's "Supremacy", which arrived to $52.5 million.

Applauded by critics -- it earned a 94% approval rating at RottenTomatoes.com -- the film written by Tony Gilroy, Scott Z. Burns and George Nolfi and produced by Frank Marshall, Patrick Crowley and Paul Sandberg earned an A from moviegoers according to CinemaScore as it racked up a per-theater average of $19,175.

The latest film in the spy series based on the Robert Ludlum novels established a new record for the best August opening, surpassing the $67.4 million bow of "Rush Hour 2" in 2001. Its Friday gross of $24.65 million was a new in-house record for Universal, whose previous best Friday had been posted by 2003's "Hulk". It also topped all the openings of the James Bond movies and established personal bests for Greengrass and star Matt Damon.

"Moviegoers seemed to sense that something great was going to happen -- reviewers and audiences alike rated this one the best one yet," Universal distribution president Nikki Rocco said. "Matt Damon, Paul Greengrass and Frank Marshall all delivered, and all the stars just aligned right."

Led by "Bourne", the weekend's top 10 films collected $158.8 million, up 37% from the comparable frame a year ago, according to Nielsen EDI. Last year at this time, Sony Pictures' "Talladega Nights: The Ballad of Ricky Bobby" bowed to $47 million, followed by Paramount's animated "Barnyard" in the second spot with $15.8 million. »

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The Bourne Ultimatum

3 August 2007 | The Hollywood Reporter | See recent The Hollywood Reporter news »

This review was written for the theatrical release of "The Bourne Ultimatum"."The Bourne Ultimatum", the culminating film of the trilogy begun five years ago with "The Bourne Identity", gets under way with a burst of nervous energy and extreme urgency and never lets up. It's a 114-minute chase film, dashing through streets and rooftops of any number of international urban sprawls with Matt Damon's redoubtable Jason Bourne hot on the trail of -- himself. That might be the genius of the series: A James Bond-like character who can escape any pickle and thwart any villain, but all in a quest for his own identity. Jason is not out to save the world -- though he might do that -- he'd just like to know his real name.

Director Paul Greengrass, who only made the astonishing "United 93" in the interim, returns for his second "Bourne" film (after 2004's "The Bourne Supremacy") to bring the roller coaster ride to an end in a dead heat where all the plot points and (surviving) characters of the three films converge. Audiences will eat it up: This is a postmillennial spy-action movie pitched to a large international audience. You hardly need subtitles.

Article Templatehttp://link.brightcove.com/services/link/bcpid1119669402http://www.brightcove.com/channel.jsp?channel=769341148 var config = new Array();config["videoId"] = 1135484455;config["lineupId"] = null;config["videoRef"] = null;config["playerTag"] = null;config["autoStart"] = false;config["preloadBackColor"] = "#FFFFFF";config["width"] = 286; config["height"] = 277; config["playerId"] = 1119669402; createExperience(config, 8); The cool thing about this movie is that the real revenge is not against bad guys in the CIA, but against the high-tech world that maddens mere mortals. Your mobile phone drops calls? Your car needs towing after a parking-lot fender-bender? Well, Jason can switch phones and patch into the world from trains, subways, stairwells and undergrounds. Any car he steals leaps up sharp inclines, plunges off of roofs or smashes into other vehicles until reduced to smoldering metal yet can still outrace any car on the block.

And his body! Blow it up with a bomb, expose it to brutal hand-to-hand combat or throw it into the East River, and it gets up with a few manly scratches.Yes, there are a few plot holes. But few are likely to care. A smart cast of veteran actors gives the film just enough emotional heft to carry you through the silliness. Damon has definitely made Bourne his own. For all his physical dexterity and killing instincts, Damon brings a Hamlet-like quality to the CIA-trained assassin suffering from a five-year spell of amnesia who can never quite tell who his friends are, or rather, which of his enemies might be a true friend.

Joan Allen returns as the CIA investigator who has slowly come to see that Jason might be the real deal. And Julia Stiles as an in-over-her-head agent again shows up for no credible reason other than the producers want her back. (They're right.)

Newcomers include a flinty and increasingly antsy David Strathairn as a head of a black-ops program that has its real-life model in all the extralegal programs sponsored by the current administration. At one point, he declares "you can't make this stuff up," and you know the filmmakers are nodding toward today's Washington.

Scott Glenn appears as a law-ignoring CIA director, though he might remind you more of the current attorney general, and Albert Finney crops up toward at the end as a Dr. Mengele figure behind a behavior-mod program that created any number of Jason Bournes.

The movie swings through Moscow (filched from the previous film); Paris; Turin, Italy; London; Madrid; Tangiers, Morocco; and New York as Jason Hones in on who did this to him. (That's another thing -- he never has to endure airport security checks!)

A fatigue factor sets in somewhere; it might vary from person to person. Yet the sharp intelligence behind the screenplay by Tony Gilroy, Scott Z. Burns and George Nolfi (though other hands reportedly contributed) gives the plot, salvaged from the Robert Ludlum Cold War spy novel, a genuine buoyancy. The film is trying to get at something, no matter how crudely, about corruption within the American espionage system, with its secret reliance on renditions and torture in the name of freedom. This might not be the best way to illustrate the problem with credibility-stretchers at every turn. But then again, how many people look at documentaries?

Greengrass tops himself with each passing minute by staging terrific stunts and chases through crowded streets, buildings and rooftops. Cinematographer Oliver Wood and editor Christopher Rouse gives the film its lightning speed and jagged edges with a close, hand-held camera and quick edits while John Powell's score pulsates pure adrenaline.

THE BOURNE ULTIMATUM

Universal Pictures

Universal Pictures in association with MP Beta Prods. presents a Kennedy/Marshall production in association with Ludlum Entertainment

Credits:

Director: Paul Greengrass

Screenwriters: Tony Gilroy, Scott Z. Burns, George Nolfi

Screen story: Tony Gilroy

Based on the novel by: Robert Ludlum

Producers: Frank Marshall, Patrick Crowley, Paul L. Sandberg

Executive producers: Jeffrey M. Weiner, Henry Morrison, Doug Liman

Director of photography: Oliver Wood

Production designer: Peter Wenham

Costume designer: Shay Cunliffe

Music: John Powell

Editor: Christopher Rouse

Cast:

Jason Bourne: Matt Damon

Nicky Parsons: Julia Stiles

Noah Vosen: David Strathairn

Ezra Kramer: Scott Glenn

Sam Ross: Paddy Considine

Paz: Edgar Romeriz

Pamela: Joan Allen

Dr. Hirsch: Albert Finney

Running time -- 114 minutes

MPAA rating: PG-13 »

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The Bourne Ultimatum

25 July 2007 | The Hollywood Reporter | See recent The Hollywood Reporter news »

The Bourne Ultimatum, the culminating film of the trilogy begun five years ago with The Bourne Identity, gets under way with a burst of nervous energy and extreme urgency and never lets up. It's a 114-minute chase film, dashing through streets and rooftops of any number of international urban sprawls with Matt Damon's redoubtable Jason Bourne hot on the trail of -- himself. That might be the genius of the series: A James Bond-like character who can escape any pickle and thwart any villain, but all in a quest for his own identity. Jason is not out to save the world -- though he might do that -- he'd just like to know his real name.

Director Paul Greengrass, who only made the astonishing United 93 in the interim, returns for his second Bourne film (after 2004's The Bourne Supremacy) to bring the roller coaster ride to an end in a dead heat where all the plot points and (surviving) characters of the three films converge. Audiences will eat it up: This is a postmillennial spy-action movie pitched to a large international audience. You hardly need subtitles.

The cool thing about this movie is that the real revenge is not against bad guys in the CIA, but against the high-tech world that maddens mere mortals. Your mobile phone drops calls? Your car needs towing after a parking-lot fender-bender? Well, Jason can switch phones and patch into the world from trains, subways, stairwells and undergrounds. Any car he steals leaps up sharp inclines, plunges off of roofs or smashes into other vehicles until reduced to smoldering metal yet can still outrace any car on the block.

And his body! Blow it up with a bomb, expose it to brutal hand-to-hand combat or throw it into the East River, and it gets up with a few manly scratches.

Yes, there are a few plot holes. But few are likely to care. A smart cast of veteran actors gives the film just enough emotional heft to carry you through the silliness. Damon has definitely made Bourne his own. For all his physical dexterity and killing instincts, Damon brings a Hamlet-like quality to the CIA-trained assassin suffering from a five-year spell of amnesia who can never quite tell who his friends are, or rather, which of his enemies might be a true friend.

Joan Allen returns as the CIA investigator who has slowly come to see that Jason might be the real deal. And Julia Stiles as an in-over-her-head agent again shows up for no credible reason other than the producers want her back. (They're right.)

Newcomers include a flinty and increasingly antsy David Strathairn as a head of a black-ops program that has its real-life model in all the extralegal programs sponsored by the current administration. At one point, he declares "you can't make this stuff up," and you know the filmmakers are nodding toward today's Washington.

Scott Glenn appears as a law-ignoring CIA director, though he might remind you more of the current attorney general, and Albert Finney crops up toward at the end as a Dr. Mengele figure behind a behavior-mod program that created any number of Jason Bournes.

The movie swings through Moscow (filched from the previous film); Paris; Turin, Italy; London; Madrid; Tangiers, Morocco; and New York as Jason Hones in on who did this to him. (That's another thing -- he never has to endure airport security checks!)

A fatigue factor sets in somewhere; it might vary from person to person. Yet the sharp intelligence behind the screenplay by Tony Gilroy, Scott Z. Burns and George Nolfi (though other hands reportedly contributed) gives the plot, salvaged from the Robert Ludlum Cold War spy novel, a genuine buoyancy. The film is trying to get at something, no matter how crudely, about corruption within the American espionage system, with its secret reliance on renditions and torture in the name of freedom. This might not be the best way to illustrate the problem with credibility-stretchers at every turn. But then again, how many people look at documentaries?

Greengrass tops himself with each passing minute by staging terrific stunts and chases through crowded streets, buildings and rooftops. Cinematographer Oliver Wood and editor Christopher Rouse gives the film its lightning speed and jagged edges with a close, hand-held camera and quick edits while John Powell's score pulsates pure adrenaline.

THE BOURNE ULTIMATUM

Universal Pictures

Universal Pictures in association with MP Beta Prods. presents a Kennedy/Marshall production in association with Ludlum Entertainment

Credits:

Director: Paul Greengrass

Screenwriters: Tony Gilroy, Scott Z. Burns, George Nolfi

Screen story: Tony Gilroy

Based on the novel by: Robert Ludlum

Producers: Frank Marshall, Patrick Crowley, Paul L. Sandberg

Executive producers: Jeffrey M. Weiner, Henry Morrison, Doug Liman

Director of photography: Oliver Wood

Production designer: Peter Wenham

Costume designer: Shay Cunliffe

Music: John Powell

Editor: Christopher Rouse

Cast:

Jason Bourne: Matt Damon

Nicky Parsons: Julia Stiles

Noah Vosen: David Strathairn

Ezra Kramer: Scott Glenn

Sam Ross: Paddy Considine

Paz: Edgar Romeriz

Pamela: Joan Allen

Dr. Hirsch: Albert Finney

Running time -- 114 minutes

MPAA rating: PG-13

»

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4 items from 2007


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