How hard can it be just to tell this guy who he is?
In the new chapter of this espionage series, Jason Bourne (Matt Damon) will hunt down his past in order to find a future. He must travel from Moscow, Paris, Madrid and London to Tangier and New York City as he continues his quest to find the real Jason Bourne – all the while trying to outmaneuver the scores of cops, federal officers and Interpol agents with him in their cross-hairs.
As you all have probably already read on here before, The Bourne Identity and The Bourne Supremacy were two good action flicks, that did what they did well, and kept me entertained while it was going on. However, they weren’t really anything worth writing home about and I don’t know what it was about them, but they just fly away in comparison to this one. Oh wait, I do know why. This one’s freakin’ awesome!
Director Paul Greengrass brought a new type of style to Supremacy, but didn’t seem like he fully used it to his advantage. Here, that’s a totally different story as it seems this guy took about 5 sniffs of cocaine and washed it all down with 3 Red Bulls, just to get in the same intensity-mode here as Jason Bourne. The last two films have been action-packed and very tense, but this one ups the anty and gives us a nail-biter almost from start to finish. The pacing that Greengrass gives this film is one that never really slows up, one that never lingers, and it’s always one that keeps the adrenaline moving, even if the story itself is just focusing on two peeps just talking about CIA shit and life. It’s a real wonder why most other action films don’t try and use the same type of fast-pace as this one does here, because you really feel like you’re in the mind of Jason Bourne, as he’s running away from these people and as he is getting closer and closer to finding out who he really is. Just a total thrill-ride that never lets loose, which is something I always love with my action-thrillers.
As for Greengrass’s hand-held camera style, it works very well with the material by how frantic it makes all of the action scenes seem. Usually, whenever this type of style comes into an action film, it takes away from the action and instead of making people feel the craziness of the action, they just feel a headache coming on. However, Greengrass has this style down very well and uses it to his advantage not only to give this film a crazy look, but also give the story more and more layers of tension that feel worth it, especially since it seems like this story is coming down to the nitty-gritty of finding out what the hell is going on with this guy.
The problem with this non-stop hand-held camera shit is that the film seems to use it the whole time, even if it is just two people talking. I get that Greengrass is just trying to keep the tension up-and-up by having his camera move all-over-the-place, but when you have a scene of just two people staring at each other in silence, 9 times out of 10, you don’t really need the camera panning in and out of their faces as if we were watching a low-budget documentary. Surprised that I didn’t hate this style of film-making here, but I still found something else to complain about it also.
Another problem I seemed to have had with this flick was that the formula, is somewhat the same and even though that isn’t so bad and noticeable this time around, you can still see certain aspects that just seem lazy. One of these instances is with the hit man that are always assigned to kill Bourne. In each and every single one of these flicks, there’s always that one hit man, who is always the best at what he does it seems and makes it look like he can kill anybody he’s ever assigned to. We get that here with 2 characters this time and it just bothered me because it always seemed like that, in the past, whenever they use it, it just came off to end the same exact way it did before.
For the third time once again, Matt Damon absolutely positively kicks total ass as Jason Bourne. Bourne is one kick-ass character, we all know that, but this time we get to see him actually be a lot smarter with the situations he plans out and of course, we get to see plenty of times where it’s just him taking names and coming one step closer and closer to the truth. In the acting department here, Damon isn’t anything particularly special, but he doesn’t have to be when he kicks this much ass. Bourne is sort of like our 21st-century superhero that just so happens to be a real person, just so happens to have no superpowers, just so happens to be an amnesiac, and just so happens to be able to beat the ever lovin’ tar out of anyone who steps up to him. It’s a great character and it’s a shame that this new one coming out doesn’t feature him for a go-around, one last time. Then again, Damon can get bored of roles pretty quickly.
The others in the cast are solid, too, with a couple of new-comers here and there. Joan Allen returns as Pam Landy but isn’t as much of a sinister bitch this time around and actually shows that she has a heart that cares about Jason Bourne a bit. It’s surprising to see this character actually have a heart and have this much depth considering I was expecting her to just be that ruthless, CIA hoe that everybody wanted Jason Bourne to just bitch-slap the shit out of. David Strathairn is new to this film as Noah Vosen, another CIA member that basically takes the spot of Landy and comes off as a ruthless son of a bitch that doesn’t want to take any prisoners when it comes to finding Bourne. Also, Julia Stiles is also back here as well, and she’s pretty good and makes her character have a lot more emotional depth than you would expected from her in the past two flicks. Shame we don’t see Stiles too much nowadays because this gal can do very well when she has the right script. Be on the look-out for a nice, extended cameo from Albert Finney, as well. That guy is always bad-ass. Even when he happens to be dying in films like Big Fish.
Consensus: Being the best out of the trilogy, The Bourne Ultimatum features plenty of memorable action scenes, a direction that just gives this film a whole new level of intense, and a story that continues to get better and better as more secrets begin to come out and we eventually figure out the truth behind Jason Bourne and who the hell he really is.
Made me really want to watch ‘Bad Boys II’. I never want to feel like that again.
Police Constable, Nicholas Angel (Simon Pegg) is good at his job, so good in fact, he makes everyone else look bad. As a result, his superiors at the Met have decided to sweep him under the carpet. So it is that London’s top cop finds himself in the sleepy West Country village of Sandford, where everything is a little too nice…
That synopsis doesn’t sound like anything too special but trust me, when you have the creative minds of Edgar Wright and Simon Pegg working together, special is what you get.
The film is an obvious homage to all of the fun-loving buddy cop films of the 70s, 80s, 90s, and today, but it also seems like it has a lot of love for the genre too. What’s so funny about this movie is that almost every scene features something goofy going on whether it’s a slight visual gag, recurring joke that seems to pop up everywhere, and in-jokes that will test your movie geekdom to it’s full limits. You’ll hear somebody utter a phrase or line-for-line dialogue from another flick or you’ll even see a scene from another recreated here and if you don’t get it right away, it’s not that funny, but if you do get it (like I did), you’ll be laughing your ass off the whole time. What was also rare about this comedy was that almost every jokes stays here in this flick and somehow finds it way of popping up later on in the flick and tying altogether with the plot.
Everybody knows how a cop movie goes but this film loves to toy around with that idea and just make it even more fun to actually watch them. Of course they mess around with the cliches and conventions that usually come with these types of films but it’s not all about that, these guys really do love these films and show how much fun they can be even if they are referring to such “classics” as ‘Point Break’ or ‘Bad Boys II’. If you don’t get the joke with that last statement then this surely is not the film for you. Then again though, a lot of this humor is very British in its own way, which I usually don’t understand but other times I do and laugh my ass off at so it’s sort of strange with me.
My only problem with this flick is that when the action comes around here, and it does come around big-time, they over-do the whole “shaky cam” element a little too much. I get that this flick was obviously trying to make a little joke about the constant zooming in-and-out and the shakiness of the action movie cameras, but the action would have been so much better if they didn’t feel the need to resort to this and just give me a head-ache. It’s a minor complaint but a complaint none the less.
Simon Pegg plays Nicholas Angel, but not in a Simon Pegg-ish way though, he’s actually very much the straight guy and let’s everybody else do the humor which was a very smart idea. Pegg does have an occasional few moments where he lets loose just a bit but he’s not the usual, cheeky guy we all know and love him for in other flicks. He may not be the easiest to like here but that provides a lot of love for Nick Frost as his likable cop-buddy, Danny. Frost is such a joy to watch here and brings home the laughs just about every opportunity he gets and the chemistry between the both of them are always great no matter what flick they’re in and that’s no different here. These guys are pure comic gold when they are with each other no matter what it is that they do and I hope they never stop at it either.
The rest of the cast is also a lot of fun and features a lot of familiar faces playing against type. Former 007 Timothy Dalton was absolutely hilarious as the dude who owns the local supermarket, and drops down the lamest but funniest puns I’ve ever heard considering they go so well with everything else that’s going on here; Jim Broadbent is very goofy, as he should be with his performance here as the Sandford’s chief of police; and there are so many others here that make this flick work and I honestly don’t want to spoil them but you’ll see what I’m talking about once they pop-up.
Consensus: Hot Fuzz is a lovable, entertaining, and very funny homage to the buddy-cop genre with plenty of in-jokes and hilarious performances and cameos that will just make the film better and more impressive as it goes along.