The Great Wall (2017) - Theatrical Review

Director: Zhang Yimou

Cast: Matt Damon, Willem Dafoe, Andy Lau, Pedro Pascal

Country: China / United States

Rating: PG-13

Run Time: 120 min

The Great Wall is the latest film from Chinese director Zhang Yimou, whose acclaimed dramas and martial arts epics include Hero, House of Flying Daggers, and The Curse of the Golden Flower. However, what separates his latest historical epic from his previous efforts is that it is a Chinese/American co-production starring Matt Damon (The Bourne Ultimatum), mostly in the English language, and with lots of computer generated monster effects. Therefore, it straddles the line between Chinese costume epic and American effects blockbuster for an awesome blend of genres and cultures primed to please multiple audiences alike.

Let's get this out of the way, The Great Wall is not a 'great' movie. It moves at a rushed pace, features lots of underdeveloped characters, and hardly invests the viewer in its story. However, it's also a gung-ho and no nonsense epic that wears its crazy monster mayhem and colorful battle armor on its sleeve. It's a visual feast for the eyes that taps into that same purely cinematic splendor that made Mad Max: Fury Road so memorable. Unfortunately, it's lack of a compelling narrative holds it back from the greatness of Fury Road and places it more so into the camp of Guillermo Del Toro's Pacific Rim, another flawed but hugely creative and passionate affair.

Jason Bourne goes into battle.

Yimou's feature carries a simple plot and message with it that makes it out to be very much like a classical Chinese legend. William (Matt Damon) and his friend Tovar (Pedro Pascal) are in search of black powder in China during the Song dynasty (which according to Wikipedia occurred during the years 960 to 1279). After an encounter with an unidentifiable monster, the duo are captured by The Nameless Order, a specific division of the Imperial Army meant to dispatch China of the Tao Tei, ravenous monsters bent on death and devastation. While the two locate the black powder that they have been in search of, William finds himself struggling with his own greed for escape and the powder and the moralistic inclination to stay and fight against the Tao Tei lest they breach the Great Wall and make their way to the rest of the world.

The first thing that I have to address is the controversy surrounding this film, which is completely uninformed and ignorant. Before The Great Wall's release in America, audiences immediately began declaring it a "white savior" tale where a white male helps out a group of uninformed and disadvantaged Chinese soldiers. They also didn't like that a white male actor was placed front and center to a Chinese historical epic. However, all of those decriers are likely to never see the film, and therefore likely to never realize their rushed judgements, because the film is not white washing history or promoting white males as the saviors of these people.

First off, Damon's inclusion in the film is a business move, plain and simple. Foreign countries co-produce films with America in order to fuel their film with the stars and budget necessary to please both countries and to maximize box office receipts. Therefore, by making The Great Wall with Universal and Legendary Pictures, The Great Wall is as much an American film as it is a Chinese film. Second, Damon's character is not a white savior to the Nameless Order. He is not the hero that they have been waiting for, as he is also a flawed man who learns about greed and self-betterment from the Chinese. His skills come in handy and make him a great ally for the Nameless Order, but their sense of team work and resources are also essential in the fight against the Tao Tei. If anything, Damon's character was a lesser man before he met the Chinese, and through his time with them, makes him a better one in the end.

World War Z, much?

Yimou promotes a very positive and universal message through the meeting of a white mercenary and a Chinese army. And yet, the ignorant critics who decry the film as racist and backwards who desire a more equal and racially diverse world, can't quite see the racial equality and progressiveness within the film. The main Commander of the army is even played by a Chinese woman for goodness sakes, and yet people can only latch onto the fact that a white male is the lead of the picture. It seems that The Great Wall's critics need to learn the same lesson that Damon's character does, as they are just as ignorant as he was.

From a blockbuster entertainment stand point, The Great Wall hugely delivers. Yimou crafts some jaw dropping battle sequences thanks to some impeccable cinematography and first rate special effects that thankfully avoid ever looking artificial. The battle sequences also operate on more than just an entertainment level, but also on a storytelling level, as he showcases a sense of honor, dedication, and team work within the Chinese army that speaks volumes about their race and battle sensibilities. The incredible array of colorful battle armors and gorgeous sets gives the film that distinct Yimou flavor that separates it from other indistinguishable historical epics. One look at a shot of several soldiers standing next to one another might remind the viewer of the Power Rangers thanks to their rainbow like colors.

The varied selection of battle tactics also makes the action sequences that much more enjoyable, as the Nameless Order uses not only arrows and flaming balls of fire, but even whistling arrows, paint drenched hooks, and scissor blades that protrude from the wall. If I had to decry the action sequences for anything, it would be that there is not only not enough of them, but also a bizarre reversal on the typical expectation of a historical epic in that the fights play in reverse order, with the largest upfront and the smallest last. Nevertheless, I was in pure cinematic bliss when a giant monster battle landed a mere fifteen minutes into the movie.

"Power Rangers, unite!"

Unfortunately, the biggest flaw of the picture is its pacing, which results in a non-engaging story and some poorly developed characters. Yimou presents a canvas of characters who are all especially one-noted, which thereby robs the film of any rewarding character arcs beyond Damon's lead. He also spends no time introducing said characters, as Damon's mercenaries are introduced mid-chase scene and the Nameless Order essentially introduced through the film's first battle. I was at least happy to see Andy Lau (God of Gamblers, Infernal Affairs) appear within the film and to have such as significant part as well, as he is one of my favorite Chinese actors. If anyone comes out the worst, it's none other than Damon, as his line delivery is especially bad, whether it be his inabilities as an actor or Yimou's direction of him, which results in an odd accent choice that sounds somewhat Irish.

Overall, I wouldn't say that I didn't feel somewhat invested with the characters by the film's end, but the rushed pace of the picture definitely hindered me from being as invested as I could have been. It's worth noting that both Edward Zwick (Jack Reacher: Never Go Back) and Tony Gilroy (Michael Clayton, The Bourne Legacy) worked on the script in some capacity, with Zwick's name being especially notable, since he previously directed the "East meets West" historical epic, The Last Samurai in 2003, which also featured a white male lead. All in all, do not come expecting a cavalcade of memorable and diverse characters along the lines of the Lord of the Rings pictures, as every one comes as simple as can be.

As I stated before, I would rank The Great Wall right alongside Pacific Rim, as both pictures carry the exact same pros and cons. Each has a fairly simplistic story that doesn't engage the viewer very much. They both have a large selection of characters too, who are all very one noted and simplistic as well. However, both films feature fully realized worlds and incredible action sequences thanks to their incredible art design and creature effects. At the end of the day, one could describe both international blockbusters as live action animes thanks to their non-existent subtlety but visually lush worlds.

This image is my attack on the film's ignorant decriers.

Whenever big budget fantasy epics like The Great Wall are released in America to IMAX screens, they rarely do business, as American audiences are less likely to turn out for films of said nature because they are too wild and creative for their tastes. American audiences simply don't turn out for Chinese co-productions or Chinese productions in general anymore. Therefore, whenever ambitious effects blockbusters like these come out, I make it an effort to see them in the theater, or at least upon an IMAX screen as I did this past week. I can definitely confirm that the IMAX 3D experience amplifies one's enjoyment of a film of this nature, as the colorful visuals and lush environments pop off of the screen in a way that home entertainment can't replicate. I'm not vouching for 3D here, but The Great Wall translated to 3D quite well, as I never felt like I was getting a headache.

It's an unfortunate truth that The Great Wall will probably be forgotten by the end of the year, let alone by next month, but I for one recommend it. Visually ambitious feasts like these don't come along very often, and I think that films of said nature fuel the mind more so than your dime a dozen American blockbuster. If you ask me, a flawed one of these is infinitely more entertaining and creative than a bland by the numbers production. The feature's character work and story telling leaves much to be desired, but the lush world building and unforgettable visuals make it a memorable experience in the end. If anything, this international co-production deserves Oscar nominations come next year, as its costuming, production design, and visual effects can't be ignored.

Rating: 6.5/10 - 'The Good Wall' would be a more apt title. Not one of Yimou's most valiant efforts, but a commendable one at best.

10 Most Anticipated Action Films of 2016

I recently looked back at my Top 10 Most Anticipated Action Films of 2015 List and couldn't have been more wrong about some of my choices. Transporter: Refueled looked like such a joke I didn't even end up seeing it, Terminator: Genisys was an insult to its series, Taken 3 sucked, and both Blackhat and Spectre were complete bores. At least I called it with Mad Max: Fury Road!

Anyways, it's time for me to lay out my Top 10 Most Anticipated Action Films of 2016! I feel much more confident with my choices this year, as many of the films being released are sequels to tried and true classics. In fact, every single film on my list is either a sequel or a spin-off minus one. Regardless, let's get to it and hope that I am right this time around with my choices.

10) Kickboxer: Vengeance (John Stockwell) - This remake of Van Damme's classic martial arts film is looking to be one of 2015's many great martial arts films. Not only will the film update the material for a new day and age (after all, the original is a flawed but entertaining cult hit), but it will also bring back Van Damme, but in a new role. Throw in Dave Bautista and George St. Pierre and you have yourself a tournament fighter that action fans are going to fall in love with.

9) Boyka: Undisputed IV (Isaac Florentine) - The fourth Undisputed film, and the third direct to video entry, will once again reunite Florentine with Scott Adkins for another round of brutal martial arts action. While Florentine has tackled several kinds of characters with Adkins, their Undisputed films are the ones that show off the two's love for martial arts better than the rest. Toss in the fact that the film will take Boyka out of prison, and you have a sequel that looks to separate itself from the rest of the series and try something fresh. 

8) Jack Reacher: Never Go Back (Edward Zwick) - 2012's Jack Reacher was one of the best studio actioners to come along in awhile thanks to its brutal fights, intriguing mystery, and incredible sound design. The film was an old fashioned throw back to the good old days when Hollywood actors beat the crap out of one another and drove fast cars around Bullit style. Anyways, Cruise is primed to return to the character and hopefully deliver another excellent round of great character and action. While McQuarrie's absence will be felt, Tom will hopefully help Zwick steer the series in the right direction.

7) Deadpool (Tim Miller) - It's an honest to goodness miracle that a Deadpool movie is finally coming out, and from a big studio nonetheless. While the character's sense of humor may be too obnoxious for my taste, every comic book and action fan is going to be checking this one out because it's almost too good to be true. Plus, I'll support an R rated superhero film in order to send a message to the studios that we are tired of PG-13 affair.

6) Hard Target 2 (Roel Reine) - It's very possible that this direct to video sequel to John Woo's amazing Hard Target could be another bland low budget film from direct to video maestro Roel Reine (see The Marine 2). However, the Hard Target name, as well as Scott Adkins' inclusion, make this one shoot to the top of the must see list for me. We'll see how this one turns out. Expect some shootouts and martial arts fights when this one drops, Most Dangerous Game style.

5) Crouching Tiger, Hidden Dragon 2 (Yuen Woo Ping) - I am almost a little disappointed that this film is being released straight to Netflix. While I should shut up and enjoy that the movie will be in my living room on the day of its release, I wish that a sequel to the most successful foreign film of all time had a more prestige release with anticipation and such surrounding it. Anyways, this sequel will bring back Michelle Yeoh, but also throw in two of martial arts greatest artists, Donnie Yen and Yuen Woo Ping. It doesn't get any better than those two.

4) Rogue One: A Star Wars Story (Gareth Evans) - The first Star Wars Anthology film lands on the list because of one reason alone: Donnie Yen playing a blind character inspired by Zatoichi. Hell freakin' yeah. However, the film also lands on the list because its plot, that of stealing the plans to the Death Star, lends itself to the action genre very well. Toss in Jiang Wen of Let the Bullets Fly fame, and you have one of next year's biggest blockbuster hits for action fans.

3) John Wick 2 (Chad Stahelski) - John Wick came on to the scene in 2014 and dropped a bombshell on the action community with its amazing gun fu sequences, Keanu Reeves' triumphant return to the action genre, and its awesome world building. While Wick easily could have been a one-off action classic, the action Gods have graced us with a sequel where Reeves will once again rack up a 70 plus kill count probably. Regardless of what it is about, John Wick 2 is an instant watch based purely upon its predecessor.

2) Untitled Fifth Bourne Film (Paul Greengrass) - I cannot wait for a fifth Bourne film because it will reunite Damon with Greengrass for their third time around with the character. As long as Greengrass maybe pulls back a little bit on the shaky cam, and delivers a great story with a new villain to boot, than Bourne 5 should kick major ass.

1) Ip Man 3 (Wilson Yip) - It's clear that Donnie Yen is going to be the action MVP of 2016 with roles in Crouching Tiger, Hidden Dragon 2, Rogue One: A Star Wars Story, and now Ip Man 3, the final and highly anticipated Ip Man film. In a sense, Ip Man 3 looks to be the end of an era of sorts for Yen because it marks his final turn as the character. Action fans won't have to wait long for this one as it comes out in January. It also features fight choreography by Ping and a highly advertised fight between Yen and sports icon Mike Tyson. This one can't come fast enough.

'Jason Bourne' Franchise Retrospective: Part III - The Bourne Ultimatum (2007)

Director: Paul Greengrass

Cast: Matt Damon, Joan Allen, Julia Stiles, Edgar Ramirez, David Straitham

Country: United States / Germany

Rating: PG-13

Run Time: 115 min

The Bourne Ultimatum is the third entry in the Bourne series and the conclusion to the initial trilogy of films that explore Jason Bourne's origins. Whereas The Bourne Identity introduced audiences to Jason and The Bourne Supremacy took everything away from him, The Bourne Ultimatum finds Jason returning "home" and going up against the CIA in a final battle for the truth. The film is also a masterclass in suspense and action courtesy of Paul Greengrass' masterful direction. Ultimatum takes all of the intrigue and tension from Supremacy and amps it up to a blockbuster level of excitement and scale. Bourne travels the globe, engages in multiple physical bouts and car chases, and confronts the man who created him. The third Bourne film answers all of the series' unanswered questions in a direct and natural way that never compromises the tone or energy established by the series.

While Greengrass' camera work is still too extreme for fist fights, his direct cinema style works perfectly for the film's many elusive surveillance sequences. Ultimatum also features more action than the surprisingly light on action Supremacy thanks to a bevy of unforgettable set pieces. Ultimatum hits the ground running and never stops until it reaches its final credits sequence in which Moby's "Strange Ways" blares across the soundtrack. Although not a standard to which action film's should model their action photography off of, The Bourne Ultimatum is one of the 21st century's greatest thrillers in which direction, performance, sound, and editing all come together to craft an unforgettable experience.

He's back...in the saddle again!

The Bourne Ultimatum finds Jason Bourne once again dropping off the grid after the events of The Bourne Supremacy. However, Bourne comes out of hiding when he reads an article written by a journalist that unveils the secrets of Blackbriar, the CIA operation that created him. The article attracts not only Bourne's attention, but the CIA and the film's big baddie Noah Venson, played with incredible malice by David Straitham. Unfortunately, Bourne cannot get ahold of the journalist in time as the CIA beats him to the punch and snipes him in cold blood. Therefore, Bourne heads after Daniels, the agent who leaked the information on the Blackbriar program. With the help of former Treadstone agent Nicki Parsons (Julia Stiles), Bourne digs deeper than ever before and takes the fight to New York City, combatting several assassins along the way.

The Bourne Ultimatum is what I like to call, "the perfect success." That means that the film scored big in all arenas: commercially, critically, and awards-wise. The film grossed over $400 million worldwide, scored a 93% on Rotten Tomatoes, and won three technical Oscars at the Academy Awards. In other words, the perfect success. This is exactly what every filmmaker and studio hopes for when they make a film. Not only did they make a profit, but they crafted a film that the entire planet fell in love with and helped establish an unforgettable legacy in spy cinema.

Greengrass is an interesting filmmaker who succeeds at depicting real world events, especially 9/11, in a respectful but engaging manner in his films. His Bourne films are some of the most definitive post-9/11 films in how they depict intense patriotism, the NSA, a morally ambiguous United States government, and brutally realistic action sequences. He also directed United 93, a retelling of the incident that occurred on September 11, 2001 in which passengers fought back against terrorists on an airplane, in between The Bourne Supremacy and The Bourne Ultimatum. He even went on to direct The Green Zone, another Matt Damon fronted political/actioner, in which the events of the Iraq War were retold in a fictionalized manner. Therefore, it's clear that 9/11, as well as real world events, find their way into Greengrass' cinema and help make for fascinating, but respectful, political films.

My boy Scott Adkins has a small role as a nameless agent.

Greengrass' direction and attention to pace is especially impressive in his second Bourne outing. The Bourne Ultimatum is so action packed and intriguing that the film's tension rarely lets up and makes for one of the briskest two hour films of all time. Greengrass and his fellow screenwriters take all of the events of Supremacy and amplify them however possible. Ultimatum features far more elusive surveillance sequences, a lengthier and more satisfying fist fight, and even an equally exciting final car chase.

The film's greatest sequence, and proof that Greengrass is a master of suspense, comes early on in the form of a cat and mouse chase that takes place at Waterloo Station in London. The CIA want to get their hands on journalist Simon Ross because he spilled the beans on Blackbriar. However, Bourne also wants to get ahold of Ross in order to protect him and to uncover more about his origins. Therefore, both Bourne and the CIA chase after Ross in what is truly a masterful display of direction, editing, performance, and music. This sequence is utterly satisfying because Bourne passes off a new phone to Ross without him knowing and helps lead him through London's crowds and security heavy areas in order to avoid government agents, cameras, and hitmen. The CIA has trouble getting ahold of Ross because of Bourne's efforts. It's an excellent display of Bourne's character as well as Greengrass' flair for preceding action with tension.

Another show stopping sequence in the film is none other than Bourne and Desh's fist fight in Madrid. This penultimate throw down is preceded by an intense foot chase amongst Madrid's roof tops and crowded alleys, thereby making the long awaited brawl all the more worthwhile. Matt Damon and martial artist Joey Ansah throw down in the franchise's greatest brawl that makes great use of Bourne's improvisation of everyday object as weapons. I saw the film in the theater in 2007 and distinctly remember the entire audience roaring with applause once Bourne defeated Desh. It was one of the most memorable theatrical experiences of my life time. The film's final car chase is also fantastic, although not as brutal and personal as Bourne's car fight against Kiril in Supremacy. Overall, The Bourne Ultimatum excels where its previous entries failed as action pictures because its action is all the more memorable, lengthier, and eventful.

This is what they like to call "the money shot."

Each Bourne film features a unique arc for Jason, as well as an over encompassing arc for the entire trilogy. Jason ultimately learns who he was before his amnesia and chooses to run away from his enemies by the end of Identity. When everything is taken away from him in Supremacy, Jason becomes a lone warrior and learns to confront his past instead of running away from it. In Ultimatum, Jason confronts his creators and helps take down those responsible for Blackbriar, thereby enacting proper law and order for all of the damage caused by the CIA's efforts. Jason goes from running away to live a life of solitude to becoming a lone hero who must ultimately take down a corrupt organization over the course of three films. Even though each Bourne film is self contained and has a definitive conclusion, each new entry adds something essential to the character and story, thereby making the sequels important instead of unnecessary.

Ultimatum also features a dynamite cast of supporting players that help take some of the pressure off of Damon's shoulders. Joan Allen dazzles once again as Pamela Landy, the story's second hero. She owns every second that she is on screen and gives a commanding performance as a no-nonsense CIA agent who fights for justice and truth. Landy's story over the course of Supremacy and Ultimatum is equally as fascinating as Bourne's journey. When she and Bourne finally meet face to face at the end of the film, it's a well earned moment between two people who have been striving for the same cause.

Other supporting players include returning franchise veteran Julia Stiles as the likable Nicky Parsons, Scott Glenn as the corrupt director of the CIA, Albert Finney as Bourne's creator, Edgar Ramirez as an unstoppable assassin, and even my boy Scott Adkins as a nameless agent who gets destroyed by Bourne. However, no villain exudes more malice than David Straitham as Noah Venson, the man in charge of Blackbriar. Straitham is the franchise's greatest villain because of his corrupt nature, disregard for American life, and determination to eliminate Jason Bourne once and for all. Viewers may come for Matt Damon, but will be equally delighted by the amazing supporting cast who help round out an excellent cast of characters in one of the previous decade's greatest thrillers.

Until next time, we bid you farewell Jason Bourne.

Whether one declares The Bourne Ultimatum or any other entry in the series' initial trilogy as the best, we can all agree that the Bourne trilogy is one of cinema's greatest interconnected trilogies alongside the original Star Wars films, Peter Jackson's Lord of the Rings, and Francis Ford Coppola's Godfather saga. Each Bourne entry is better than the previous, with each one amping up the stakes, performances, and action. Even though Greengrass' shaky cam is the only thing holding back Ultimatum from being a perfect action film, his direct cinema style is hugely important in the film's success and influence. If it weren't for Greengrass' efforts, than Bond may have never risen back into the mainstream as the box office champ that it is now. Therefore, let us all take our hats off to the initial Bourne trilogy, and hope for the best with the franchise's highly anticipated fifth installment which brings back both Damon and Greengrass.

Rating: 9/10 - The conclusion to the initial Bourne trilogy is as fantastic as cinematic conclusions come and arguably Matt Damon's finest hour as the character. 

Franchise:

The Bourne Identity (dir. Doug Liman, 2002)

The Bourne Supremacy (dir. Paul Greengrass, 2004)

The Bourne Ultimatum (dir. Paul Greengrass, 2007)

The Bourne Legacy (dir. Tony Gilroy, 2012)

Jason Bourne (dir. Paul Greengrass, 2016)

'Jason Bourne' Franchise Retrospective: Part II - The Bourne Supremacy (2004)

Director: Paul Greengrass

Cast: Matt Damon, Brian Cox, Joan Allen, Karl Urban, Julia Stiles

Country: Germany / United States

Rating: PG-13

Run Time: 108 min

Even though The Bourne Identity revamped the espionage genre in the 2000s, the series is mostly remembered by its sequels The Bourne Supremacy and The Bourne Ultimatum. This is the point in the franchise when Paul Greengrass stepped in and revamped the series' stylistic identity as we know it today. Greengrass took the first film's action and themes and amplified them with his signature documentary style. The Bourne sequels are infamous amongst action fans for introducing and popularizing the "shaky cam" style of photography in which the cinematographer photographs an actor with a hand held camera for maximum immersion and documentary realism. This style is also referred to as "post-action," coined by Vern from OutlawVern.com. 

However, The Bourne Supremacy also upped the series' maturity level and delved deeper into its post 9/11 themes of surveillance and government secrecy. Greengrass truly is the perfect filmmaker for a series like this with his pedigree for capturing true to life events on film. Greengrass' sequels are also faster paced and cut with a rapid style of editing that constantly keeps the film in motion, even during its slower moments. The sequel is even a different kind of film than the first, being both a who-dun-it mystery and a revenge thriller at the same time. Despite an all around lack of action, The Bourne Supremacy is a solid step up from the dregs of its early 2000s predecessor.

All good things come to an end.

The Bourne Supremacy picks up two years after the first film with Jason Bourne and his girlfriend Marie residing in India. Unfortunately, their happy getaway is ruined when Bourne spots an unfamiliar man, an assassin named Kiril (Karl Urban). Even though Bourne attempts to escape, Kiril shoots at him and takes out his girlfriend Marie instead. Believing the assassin to be linked with Treadstone, Bourne resurfaces in Europe in order to attract the CIA's attention. However, Bourne soon realizes that the CIA was never after him at all, and instead one of its rogue operatives was using Bourne to take the blame for a previous crime. Bourne comes to grips with a past assassination linked to the current day plot against him and also seeks vengeance on Kiril for murdering his girlfriend.

While The Bourne Identity feels dated in terms of its visual style, fashion sense, and sound design, The Bourne Supremacy still feels modern even though it came out two years after its predecessor. Greengrass' sequel is a technical delight in which photography, editing, and music comes together to craft a unique vision of modern society. His signature documentary shooting style makes his films feel all the more realistic and eternal in their mission to establish a time and a place. This direct cinema style is best suited for surveillance sequences and location establishment, as the camera movement places the viewer into the setting as if they were a fly on the wall to the government's shady dealings. Greengrass is also to be applauded for focusing on average streets and subways in order to make his locations more realistic instead of focusing on tourist attractions and world renowned landmarks. And while the photography is a tad too intense for my taste during the action scenes (more on that later), I can't imagine the Bourne series without Greengrass' cinematic eye.

Editing credits go to Christopher Rouse and Rick Pearson, who both do an outstanding job piecing together the puzzle that is Greengrass' shaky cam. The strength of the film's editing is most apparent during sequences when Bourne eludes police officers and government agents, not during fight sequences. While The Bourne Ultimatum contains greater elusive sequences, The Bourne Supremacy got the ball rolling with the sequence where Bourne eludes the CIA during a protest and kidnaps one of their agents at the same time. The editors do their best to piece together the jumbled photography that is the film's action scenes, but that's not their fault, as they didn't shoot the film themselves.

Improvisational Bourne.

Greengrass' direction, along with the film's pitch perfect editing, all comes together perfectly with John Powell's excellent score. Returning from the first film, Powell is to be applauded for composing several exciting and recognizable music cues throughout the film that racquet up the tension. His score drives the film's action packed proceedings home and buries itself into your brain long after the credits role.

Damon returns and gives an even more intense performance this time around. While it is unfortunate that Marie dies in the first 15 minutes of the film, it proves that Bourne is a more interesting character while on his own. He simply works best when he has all of the odds stacked against him and him alone. And while we should all have a moment of silence for Marie...the true Bourne comes to life here. The sequel also features several great supporting performances by Brian Cox as the shady Abbot, Joan Allen as the franchise's second hero Pamela Landy, and Karl Urban as one of Bourne's greatest foes. While neither Cox nor Urban last beyond the sequel, Joan Allen truly shines as the amazing Pam Landy, a determined government employee who purely wants to get to the bottom of everything. Both she and Julia Stiles' characters last into the third film as well and both help round out the franchise's best supporting cast members. 

The Bourne Supremacy is ultimately a story of revenge between Bourne and Kiril. However, the film is also a tragic story of forgiveness and the strength of Bourne's inner humanity. While the revenge plot is what most audiences will latch onto, the tale of self-forgiveness is what is most powerful about the sequel. Bourne initially played a part in Abbot's scheme to steal money from the CIA when he assassinated a politician who was willing to squeal on Abbot. When Bourne went to kill him, he discovered that his wife was in the room too. Therefore, Bourne reluctantly killed the politician first and than his wife, making it look like a murder suicide. By the end of the film, Bourne's only goal is to locate their daughter and to explain to her that her mom never killed her husband or herself. This is what ultimately leads Bourne into the film's climactic car chase, his conscience.

Leave it to Greengrass to finish a car chase.

The only true disappointment of The Bourne Supremacy is its sometimes extreme photography and minimal amount of action. The film's action quota comprises of a small opening chase, a short fist fight, and an unforgettable final car chase; that's it. The final car chase is the only true action set piece of the film to last longer than two to three minutes. Fortunately, the car chase is especially great because it plays out over an extended period of time and involves both Bourne, police officers, and Kiril. Bourne and Kiril's final car faceoff in a crowded tunnel makes for one of the series' best action highlights, especially its final moment when Greengrass blows his vehicular wad.

While this style of photography can be great for surveillance sequences and establishing realistic locations, it can be a bit extreme for action. The fist fight between Bourne and Jarda is especially difficult to make out at points. While some may argue that shaky cam adds extra power to an actor's hits or places the viewer into the action, all it does is give me a headache or blur what should be a visibly cohesive fist fight. This action scene also further builds on Bourne's knack for improvising everyday objects as weapons when he rolls up a magazine and defends himself from a knife attack.

The shaky cam style of action, also referred to as post-action, is an extremely controversial and touchy subject amongst action fans. Many decry it as the end of action cinema and the death of true action photography. Some filmmakers, such as Olivier Megaton (Taken 2, Transporter 3), have gone on to become experts in post-action, thereby rendering entire action sequences incomprehensible. It's a shame that such a style caught on, because no camera should ever be purposefully shook up. 

The end of the Supremacy, the start of the Ultimatum.

The Bourne series will always be remembered because of what Paul Greengrass did to the series. He took Doug Liman's solid first installment and improved upon it in every way possible. Greengrass turned a fictionalized tale of espionage and intrigue and shot it in a documentary style in order to make it appear as if it were non-fiction. Greengrass also brought a sense of tension and excitement to the Bourne proceedings that seemed lacking in The Bourne Identity. Even though Greengrass' sequel is light on action, the film is even more compelling and tense than the first. In retrospect, The Bourne Supremacy is an important stepping stone in the franchise because it led to Greengrass' masterpiece (and the true finale of the series), The Bourne Ultimatum.

Rating: 8/10 - A fantastic spy thriller that ups its predecessor in every way and sets the stage for a superior third installment. Important for introducing Greengrass' style to the series before going all out for the finale.

Franchise:

The Bourne Identity (dir. Doug Liman, 2002)

The Bourne Supremacy (dir. Paul Greengrass, 2004)

The Bourne Ultimatum (dir. Paul Greengrass, 2007)

The Bourne Legacy (dir. Tony Gilroy, 2012)

Untitled Fifth Bourne Film (dir. Paul Greengrass, 2016)

'Jason Bourne' Franchise Retrospective: Part I - The Bourne Identity (2002)

Director: Doug Liman

Cast: Matt Damon, Chris Cooper, Franka Potente, Clive Owen, Julia Stiles

Country: United States / Germany

Rating: PG-13

Run Time: 118 min

The Bourne Identity, adapted by Robert Ludlum's novel of the same name, is the first entry in the Jason Bourne film franchise. The film and its respective series launched Matt Damon to blockbuster stardom and revitalized the espionage sub-genre in the 2000s. It had a profound effect on modern action cinema too. Other films started emulating the series' shaky cam photography, copying its signature amnesia plot, and setting their plots in foreign locations like Paris, France. While Bond may have launched the spy genre in the 1960s, Bourne saved it in the 2000s.

The first Bourne film is a solid example of early 2000s action. It's not a great film, nor an excellent action picture, but a swell spy thriller none the less. It's the perfect example of modern American action filmmaking. The focus of the film is mainly on the plot and characters, while the action scenes are particularly short and somewhat underwhelming. However, such mediocre action is forgivable when a film features such a great protagonist and contains an immensely intriguing story. No matter how you look at it, The Bourne Identity is an immensely important espionage film whose effect can still be felt in contemporary action cinema.

The Bourne Saga all started here.

Fishermen locate a body adrift in the Mediterranean Sea and bring it on deck. The man (Matt Damon) appears to have amnesia, two bullets in his back, and a small device lodged in his waist that leads to a safety deposit box in Switzerland. Once the man makes his way to Switzerland, he discovers that he is in fact named Jason Bourne and that he was once an assassin for a CIA operation entitled Treadstone. As Jason puts together the pieces of his identity along with the help of a kind German woman, Marie (Franka Potente), the CIA sends assassins and agents after Bourne in order to clean up their mess.

The Bourne series redefined action and spy cinema for the modern age in the wake of the 9/11 terrorist attacks. The series took note of the ever growing issue of safety and surveillance and tied it into its plot about shady CIA dealings and dueling assassins. While other spy films tried to be hip and entertaining in the early 2000s, The Bourne Identity embraced the reality of modern day espionage and brought a maturity and realism to the spy genre. In fact, The Bourne Identity was released the same year as Lee Tamahori's schlock-fest Die Another Day and the hip Vin Diesel fronted XxX. In James Bond's darkest hour, Jason Bourne rose to the occasion.

The series also went on to heavily influence the style, setting, and plot of many spy films to come. While not as evident in the first film, the Bourne series is notable for its brutal hand to hand combat sequences. Therefore, future filmmakers took note of this style's effectiveness and incorporated it into their film's action scenes. The most notable examples include Casino Royale, Quantum of Solace, and the Taken series. Bond would become so influenced by this style of fighting (and its accompanying shaky cam photography) that many action fans decry Quantum of Solace for purely being a Bourne film and not a Bond film per say. The Bourne Identity also popularized the amnesia plot, which would go on to be duplicated in other films such as Unknown and American Ultra. Even the film's foreign setting of Paris would go on to become a popular location for American action films, such as Taken once again. There's no denying it, The Bourne Identity and its respective series influenced American action cinema for about a decade.

The action may seem dated but that sweater is eternal.

The Bourne Identity introduced audiences to Jason Bourne's characteristics and trademark skills. Bourne proves his resourcefulness time and time again throughout the film as he thinks fast on his feet, improvises everyday objects as weapons, and proves himself a master surveyor of his surroundings. Watch the scene where Bourne escapes the U.S. embassy and spot how quickly he turns his situation around by quickly noticing and grabbing advantageous objects (i.e. security radio and map of building emergency exit). The sequels would go on to make these sequences even more unique and intense. Bourne also improvises his first weapon in the film, a pen, and turns it into a fatal stabbing weapon by piercing it through a hitman's fingers! The Bourne films are infinitely satisfying to watch time and time again purely for Bourne's survivalist instincts and improvisational abilities.

The film also tells a unique story about Jason Bourne at the first stage in his adventure. He is ultimately a killer who gets a second chance at life and to redeem himself. However, Bourne is not the go-getter that he would go on to become in the sequels in this film. Instead of going after Treadstone (the shady CIA black ops operation that he was apart of), Bourne decides to run away because he cannot deal with the mistakes he made in the past. Even though he will ultimately go on to pay the consequences for running in the sequel, Bourne's journey in the first film is made all the more interesting because of this.

Another pleasure of watching the Bourne films is for the numerous assassins and agents who combat him throughout the series. Bourne goes up against two notable assassins in the first film, a bleach blonde guy and the Professor (Clive Owen). His fight against the bleach blonde assassin is noticeably weak due to the film's poor editing, sound design, and cinematography during the bout. It's clear that the editors cut multiple times in order to add power to the hits. Unfortunately, the stock sound effects don't help out either. Just listen to the sounds of the punches when Bourne throws his first punch. It's pretty awful. This weak fight in no way convinces the viewer that Damon knows the moves at all.

Double barreled Bourne.

On the flip side, the film's gun fights and car chases fare much better. In fact, this Bourne entry features the most gun fights of any the series. It's also the only entry in the series in which Bourne guns down his opponents and aims to kill instead of to wound, hurt, or maim (another sign that this Bourne is different from the one in the sequels). Bourne's gun fight against the Professor makes for a great game of cat and mouse as one armed assassin fights against an underarmed one. His resourcefulness shines once again in this sequence as he puts around eight shotgun shells to good use.

The film's mid-point car chase and the final gun fight are also solid pieces of action cinema. Unfortunately, nearly all of the film's action scenes leave much to be desired, especially the final gun fight. Most of the action scenes end before they even begin. The film's final set piece lasts less than two minutes in fact. The Bourne Identity is still solid action cinema, just don't rely upon the action to thrill you beyond a punch or two here and there.

The Bourne Identity establishes many of the tropes that the series would come to be known for. It explores relevant themes of privacy versus security and how surveillance plays a role in it. It also explores how shady our government can be at times and how some American lives can be put at stake in order to protect more American lives. The mysterious Treadstone program and the eventual Blackbriar training facility are further explored in the sequels, but only touched upon in the first film. The first film also establishes the series' knack for action, especially its love for hand to hand combat and car chases. However, it would be director/writer Paul Greengrass (United 93, Captain Phillips) who would take all of these elements and amplify them to perfection in the sequels as he brought a gritty realism to the series.

Mid-air shot, Bourne style.

Doug Liman's sole entry in the Bourne franchise is a swell film that succeeds at the important task of establishing the tropes of a franchise and introducing audiences to its hero. Jason Bourne is an utterly iconic character now because of Liman's direction and Damon's performance. However, The Bourne Identity suffers from a bland visual style that lacks the gritty realism of its sequels. The editing is also especially poor during its fist fights. In short, The Bourne Identity has good content, but lacks the style and expert direction that catapulted the sequels to greatness.

Rating: 7/10 - A solid and memorable action thriller that relaunched the spy genre.

Franchise:

The Bourne Identity (dir. Doug Liman, 2002)

The Bourne Supremacy (dir. Paul Greengrass, 2004)

The Bourne Ultimatum (dir. Paul Greengrass, 2007)

The Bourne Legacy (dir. Tony Gilroy, 2012)

Jason Bourne (dir. Paul Greengrass, 2016)