Armed with a licence to kill, Secret Agent James Bond sets out on his first mission as 007 and must defeat a weapons dealer in a high stakes game of poker at Casino Royale, but things are not what they seem.
Bourne is once again brought out of hiding, this time inadvertently by London-based reporter Simon Ross who is trying to unveil Operation Blackbriar--an upgrade to Project Treadstone--in a series of newspaper columns. Bourne sets up a meeting with Ross and realizes instantly they're being scanned. Information from the reporter stirs a new set of memories, and Bourne must finally, ultimately, uncover his dark past whilst dodging The Company's best efforts in trying to eradicate him. Written by
The end title music for The Bourne Identity (2002) and The Bourne Supremacy (2004) uses the exact same recording of "Extreme Ways" by Moby. This film uses a new performance of the same song, with a distinctly different mix, called "Extreme Ways (Bourne's Ultimatum)". See more »
When Jason is across the street in New York watching Vosen and Landy, Vosen places the Blackbriar casebook in his briefcase twice. First he places it in when we see him from Jason's view, and again right after when we see the close up (through the binocular). See more »
Russian dispatch officer:
Suspect from tunnel auto chase, heading east from Kievsky Train Station.
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Jason Bourne sits in a dusty room in with blood on his hands, trying to make sense of what he's just done. Meanwhile, a CIA chief in NYC outlines the agency's response to what's just happened on screen. An American flag stands proudly on the centre of his desk in the foreground of the shot, but as he speaks, it slips out of focus as his plan veers into morally dubious territory, as if it doesn't want to be associated with the course of action the government man decides is necessary in the interests of national security.
This shot effectively captures the mood of the film. As well as portraying Bourne's quest to find out how he became Jason Bourne, Ultimatum is also an examination of the human costs of the measures taken to protect us in the interests of stability and security.
It is also probably the best film you'll see in the cinema this year.
It's just so intense. Bourne says to Simon Ross (Considine) "This isn't some newspaper story, this is real" and in the audience you almost believe him. The camera shakes, but remains steady enough for you to see everything and feel like you're there with Bourne as he tries to elude his pursuers, and the performances are so good that these guys seem as though they are the characters they're portraying, instead of just being actors performing well-written roles. The action scenes are so brutally fast-paced and well choreographed that they seem instinctive instead of planned to the minutest movement; the stunt-work is nothing short of amazing.
The pacing is just incredible. It keeps driving forward towards its conclusion, but not so fast that it leaves you struggling to piece together the plot; the script delivers the information you need as quickly and clearly as possible before moving on to the next tense action set-piece. While they're often simple (the Waterloo sequence is essentially just a man on a phone being watched by a man on a phone) they're charged with such dramatic intensity that you can't take your eyes off them. The film is just so focused on powering forwards that you can't help being swept along by it.
With its intense action set-pieces, brilliantly paced storyline, and intelligent examination of the decisions made in the name of national security, the Bourne series is one that accurately captures the ambiguities of our age. Ultimatum is its peak.
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