Review: Jason Bourne
Like the titular character himself, Jason Bourne is tired. An obvious cash grab from co-writer/director Paul Greengrass and his leading man Matt Damon (loosely taking characters from Robert Ludlum’s novels), the film is driven by a nonsensical plot that leads to white knuckle action sequences that are few and far between.
What’s worse is that much of the script (written by Greengrass and editor Christopher Rouse, who has taken over screenwriting duties from Bourne regular Tony Gilroy) seems to have been cut and paste from the far superior film Skyfall. While perhaps fitting in the age of Melania Trump’s infamous cribbing, it’s insulting to its built-in audience.
Jason Bourne picks up with the formerly amnesiac title character living on the outskirts of Greece battling his inner demons via underground fighting. His past catches up to him in the form of Nicky Parsons (Julia Stiles, the only other returning cast member from the original trilogy), who has infiltrated the C.I.A. database and uncovered pertinent information regarding past and present confidential operations. With a deadly “asset” (Vincent Cassel, the only member of the ensemble who appears to delight in the proceedings) chasing him every step of the way, Bourne must finally confront his confounding history with the C.I.A.
Oh and there’s also Alicia Vikander (insultingly miscast as essentially the Joan Allen part), Tommy Lee Jones (taking over from Brian Cox as the caricatured two-faced C.I.A. head) and Riz Ahmed (as a tech mogul in cahoots with the C.I.A.). None of them matter really, as they’re mostly just window dressing in the non action scenes (read: scenes where you can take a long bathroom break).
Like his fuzzy past, Jason Bourne isn’t worth remembering.