After escaping from the emotional and physical pain he previously encountered. Jason Bourne and his girlfriend Marie begin a new life as far away as possible. But when an assassination attempt on Bourne goes horribly wrong, Bourne must re-enter the life he wanted to leave behind, in order to find out the truth why they are still after him. Written by
The taxi that Bourne drives during the car chase is a Russian-made Volga 3110. See more »
After Jason steals the car with the tool that he pushes in the
ignition he gets out of the vehicle. When he returns to the car he starts the vehicle. The distinct sound of keys rattling can be heard. So obviously he mysteriously got keys to the vehicle he had stolen. This is because an alternative scene was shot where he approaches the owner of the car and buys it on the spot. See more »
[voiceover - memories]
This is not a drill, soldier. We clear on that? This is a live project. You're a go. Training is over. Training is over.
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The opening titles only include the production company and the title of the film. See more »
A supremacy over the Bond franchise, increasingly. Matt Damon reprises an impressive, convincing delivery of a role well executed the first time around. Dalton's efforts come closest, alas within the insuperable cage of audience/exec. production expectation (and reasonably so, I might add).
The equal star of this picture is the efforts of the director Paul Greengrass. I stumbled on a televised doc-feature of this film a couple of hours ago (the sort of thing that becomes a DVD special feature). Greengrass pints to his work in documentary as a style and means of getting closer to the principal character as he tries to discover (i) who he is and (ii) what the ever-present forces are that cause his mental and occupational Sturm und Drang. It all works - the hand-cam and editing chucks us about and it's exciting trying, visually, to keep up with Bourne's every move. There's next to no CGI (the aforementioned documentary claimed none but I don't think that's possible these days) so the interest stays with the characters and never strays into the peripheral or wantonly spectacular.
The one downside with these production values is that one can get a bit seasick at being in the centre of a fight/chase sequence - I kept wondering why Greengrass doesn't put Bourne's heart rate up on the screen as well for good measure. Anyway, the irony is that this film is a Hollywood studio flick: two preposterously good looking spies (Karl Urban's Russian nemesis to Bourne, Kiril, being the other) engaged in a ripping thriller with a shady baddie and a handful of classy women. So bravo to Universal's production hit-squad for not interfering with the project (i.e. trying to work up non-existent sub plots or pointlessly maintain A-ish-list screen time, etc.). 8/10
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