First off, I want to say that I enjoyed The Bourne Ultimatum immensely. I liked where this story went (and frankly dismiss the few complaints I've seen about "thin story" or nonsense plot) and found the ultimate resolution to the series quite satisfying. I really appreciated the "echoes" of moments from the previous films, especially the one in the final moments of this film. (Talk about bringing things full circle.) Somewhat similar to my reaction to seeing the latest Harry Potter, this one made me want to go back and watch the first two films to see those original moments, and maybe find others that I'd forgotten. I'd also like to see if there's anything in those first two films that foreshadows (oh so very subtly) the relationship they tease for the briefest moment in this one. (God, I'm being so circumspect here about not giving anything away. I must really want people to be able to experience this one on their own.)
One other thing that I really enjoyed was the structure of Ultimatum, in relation to Supremacy. This one picks up right where the second film leaves off. Almost. And it's not till nearly half-way through that you're reminded of that other moment from the second film, and the timeline drops into place. Again, it made me want to go back and watch Supremacy again, just so I could come back and see Ultimatum a second time, knowing what to expect. Brilliant.
As for Greengrass, well, I've complained before about his use of hand-held camera work, especially in regard to the Bourne movies. I really like this series of films and have enjoyed every one of them. But I found his style distracting and annoying in Supremacy, so I wasn't happy to hear he'd be directing Ultimatum. But that wasn't going to keep me away, especially when you see reviews like these.
At first, of course, I was annoyed. Especially during an early scene when it was just a series of close-ups of Bourne and another guy having a conversation, with the camera jerking around like it was being held by an over-caffeinated spider monkey.
But the funny thing is, as the movie progressed, I stopped paying attention to the shakicam. And by the time it got to the New York police car chase, I was on board for the whole ride. That was, perhaps, the most visceral chase scene I've ever seen. I honestly shouted out load at the end of that scene, completely caught up in the moment. Yes, I was a convert, and I even stopped complaining about herky-jerky fight scenes and hand-held pretensions.
So, for making me like his damn hand-held camera work, I think I must hate Paul Greengrass. But I still really liked this film. And I guess that means I'll have to hold off complaining about his style in future movies. At least until I've seen the movie and know if it all still works for me. One time could be a fluke, right?
UPDATE 8/10/07:
Interestingly, I just read an interview with Damon, talking about the Ultimatum shoot. It was long (more than 140 days); they had no final script going into the film and he was getting new pages every day; and he never knew from one moment to the next, where his character was coming from or going to (MURDER on an actor's continuity). With all that said, it's a miracle the movie succeeds at all. Maybe there is something to those "thin story" complaints, and I was just carried along on the adrenline rush provided by Greengrass's cimematic style? (Guess I'll have to see how it stands up to repeated viewings.)
Whatever the case, I still enjoyed the movie, and now I can congratulate the filmmakers on pulling off the impossible as well.
One other thing that I really enjoyed was the structure of Ultimatum, in relation to Supremacy. This one picks up right where the second film leaves off. Almost. And it's not till nearly half-way through that you're reminded of that other moment from the second film, and the timeline drops into place. Again, it made me want to go back and watch Supremacy again, just so I could come back and see Ultimatum a second time, knowing what to expect. Brilliant.
As for Greengrass, well, I've complained before about his use of hand-held camera work, especially in regard to the Bourne movies. I really like this series of films and have enjoyed every one of them. But I found his style distracting and annoying in Supremacy, so I wasn't happy to hear he'd be directing Ultimatum. But that wasn't going to keep me away, especially when you see reviews like these.
At first, of course, I was annoyed. Especially during an early scene when it was just a series of close-ups of Bourne and another guy having a conversation, with the camera jerking around like it was being held by an over-caffeinated spider monkey.
But the funny thing is, as the movie progressed, I stopped paying attention to the shakicam. And by the time it got to the New York police car chase, I was on board for the whole ride. That was, perhaps, the most visceral chase scene I've ever seen. I honestly shouted out load at the end of that scene, completely caught up in the moment. Yes, I was a convert, and I even stopped complaining about herky-jerky fight scenes and hand-held pretensions.
So, for making me like his damn hand-held camera work, I think I must hate Paul Greengrass. But I still really liked this film. And I guess that means I'll have to hold off complaining about his style in future movies. At least until I've seen the movie and know if it all still works for me. One time could be a fluke, right?
UPDATE 8/10/07:
Interestingly, I just read an interview with Damon, talking about the Ultimatum shoot. It was long (more than 140 days); they had no final script going into the film and he was getting new pages every day; and he never knew from one moment to the next, where his character was coming from or going to (MURDER on an actor's continuity). With all that said, it's a miracle the movie succeeds at all. Maybe there is something to those "thin story" complaints, and I was just carried along on the adrenline rush provided by Greengrass's cimematic style? (Guess I'll have to see how it stands up to repeated viewings.)
Whatever the case, I still enjoyed the movie, and now I can congratulate the filmmakers on pulling off the impossible as well.
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