Jason Bourne is definitely showing its age in this latest instalment. The car chase on the Las Vegas strip is especially good and the final fight is a brutal sounding one. Sound is loud and clear, with action scenes delivering plenty of 'crash, bang, wallop', duly exploiting the surround channels. The bassy score by John Powell and David Buckley helps sustain action sequences with an intensity that's become a trademark for the Bourne series. In terms of the audio it's a smashing soundtrack - quite literally in some cases.
There's one instance where you can spot smudges of dirt on a computer screen, that helps the film's attempt to feel 'real'. The image is polished, but retains a gritty feel, with strong colours (explosions light up the screen) and plenty of dirt, dust and grime in the image. Greengrass is known for moving the camera image stability is string and there's little, if any, loss of focus. MORE: 10 of the best film scenes to test picture quality Vincent Cassel literally has no name (he's called 'Asset') but does exactly what the film requies of him. Alicia Vikander's CIA agent is driven, while Tommy Lee Jones epitomises the snake-oil CIA agents we've come to expect from these films.
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The action scenes are thunderous and that gritty aesthetic that has been the hallmark of the series is present and correct.ĭamon's assasin is even more monosyllabic in this edition, driven by the need to find the truth and find a purpose in a world that's left him behind. In that respect, Bourne feels a little tired and leggy, but both Damon and Greengrass have clearly put in the effort to make this return as good as they could.
There's plenty of globetrotting, 'assets' engaged in familiar activities and action sequences that echo the visceral film of Supremacy and Ultimatum.īut the reasons for bringing Bourne back are lacklustre, as if Greengrass and Christopher Rouse couldn't quite pin down a reason to bring him back.
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