The Bourne Supremacy (Widescreen Edition)
by Paul Greengrass
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Actor: Brian Cox, Franka Potente, Joan Allen, Julia Stiles, Matt DamonDirector: Paul Greengrass
Brand: Universal Studios
Producer: Andrew R. Tennenbaum
Producer: Colin J. O'Hara
Producer: Doug Liman
Producer: Frank Marshall
Producer: Henning Molfenter
Writer: Robert Ludlum
Writer: Tony Gilroy
DVD: Region Code 1
Audio: English (Unknown), Dolby Digital 5.1; Spanish (Subtitled); French (Subtitled); English (Original Language), Dolby Digital 5.1; Spanish (Original Language), Dolby Digital 5.1; French (Original Language), Dolby Digital 5.1; French (Dubbed), Dolby Digital 5.1; Spanish (Dubbed), Dolby Digital 5.1
Format: AC-3, Color, Dolby, Dubbed, DVD, NTSC, Subtitled, Widescreen
Picture Format: 2.35:1
Running Time: 108 minutes
DVD Release Date: 2004-12-07
Audience Rating: PG-13 (Parental Guidance Suggested)
Studio: Universal Studios
Product features:
- Widescreen Edition
DVD Reviews of The Bourne Supremacy (Widescreen Edition)
DVD Review: The Spy who stayed out in the Cold
Summary: 5 Stars
You know something? Those of us who live our lives in the sunlit spaces of what we call "Normalcy" don't have a clue about the deep, dark, furiously deadly undertows all about us.
Most do their 9-to-5 routine, pay their bills, take care of their taxes in an annual routine of Dread, nurture families, make and break friendships, launch and end affairs, and a million other exigencies of life, all while getting their food---caught, fattened, slaughtered, and packaged, ultimately bearing little resemblance to a beast or fowl---from well-stocked superstore shelves.
We live in such a state, a highly unnatural state, because our Rulers have enlisted King Cobras to go forth and do our battles for us. Proxy warriors.
They slip through the streets of a million metropolises, plumb the information oubliettes of a bilion backwater dive-bars. They are professional Killers, and you'll only see one of them about 1/5th of a second before you breathe your last breath.
As one CIA analyst says, "these people do not make mistakes." They don't have time to: the world they do their bloody business in is fast and brutal, operates by the Law of the Microchip, and is unforgiving as Hell.
James Bond? Please. By the time Bond was halfway through one of his droll quips he'd be dead in the real world.
Jason Bourne (Matt Damon, whose Bourne is both kinetically, cracklingly alive and still calm and calculating), until recently, was one of those King Cobras.
Still suffering from partial amnesia, not wholly confident in what he may have done for the infamous CIA "Treadstone Project", haunted by nightmares, Bourne and girlfriend Marie (the lush Franka Potente) are a world away from the events of "Bourne Identity", submerged beneath new names (though not faces, alas), tucked away in a remote corner of India.
Except, as Bourne finds out, when a Berlin CIA operation goes bad and Trouble comes calling with hollow points, there ain't any such thing as remote.
Framed for a murder he didn't commit, implicated by fingerprints that aren't his, dimly suspicious that Treadstone may still be up and running and looking for blood, Bourne runs himself to ground in Naples, using his own passport---and the Hunt is on.
Both "Bourne" movies are prime examples of how *to* make a good espionage thriller: "Supremacy" is smart, fast, edgy, and deadly, like a John Le Carre novel told from a field agent's point of view. There is little, if any, margin for error: make a mistake, trigger the men in black *and* the local fuzz, and you won't be making it back to the hotel for a late night Martini, shaken not stirred.
The plot? Suffice it to say that it involves Russian mobsters with Langley connections, and that it is partly about revenge and substantially about getting answers. That's all you really need to know.
Like its predecessor, "Supremacy" is shot with skill and authority: like its cold-bloodedly efficient killers, "Supremacy" Director of Photography Oliver Wood doesn't have to plump up the material with showy techniques. His camera moves in for the kill, arcs over to its target, jounces along after the subject like a war photographer when it must, and gets the job done.
It's amusing that some have complained about Wood's cinematography: he did the camera-work for "Identity", and (rejoice!) will be helming the shooting for "Bourne Ultimatum". I'm not a big fan of jerky camera-work and so I was bracing myself for this film; with a widescreen print of the film and a proper widescreen TV, the only time the camera bounces around is when it wants to enhance the action.
Ultimate credit goes to Peter Greengrass, who takes the directorial duties away from "Identity"'s director Eric Lyman. Greengrass has a fine sense of what works, and subordinates everything in "Supremacy"---the use of lighting, the frenzied chases through Berlin, Naples, and Moscow, the actors, even the soundtrack and camerawork---to serve the movie's overarching objective.
A good example---one of my favorites in "Supremacy"---is Bourne's brutal melee with former Treadstone spook Jarda (Martin Csokas): no soundtrack, totally edgy, very raw, two trained killers beating each other to death (one handcuffed!) with whatever means are available.
The camerawork moves with the two fighters---not stagey at all, this is not a Bond fight---but the more organic perspective serves to bring you into this duel to the death.
Another thing I respect about "Supremacy": the absolute lack of lard on this bad boy. In this era of cinematic bloat, the crucial job of editing---what to cut, what to leave in, and how to cut scenes to maximize dramatic effect---isn't always appreciated.
"Supremacy" succeeds because it has no body-fat: every scene must tell, which makes you care about Jason Bourne all the more. Congrats to Christopher Rouse (from "Identity") and Richard Pearson for editing "Supremacy" so tight you could practically hear the film scream.
Those who grooved on the helter-skelter chase sequences of "Identity" will relish Greengrass's serving up more of the same---only Greengrass ups the ante, both in terms of the pursuit, but also in terms of the fiendish inventiveness---and deadliness---of Jason Bourne himself, the Pursued. The chase through nocturnal Berlin is one of the craziest things I've ever seen on screen, and a true nail-biter.
All the acting is note-perfect: Damon is tightly focused---but torn---Angel of Death, Karl Urban (Kirill) shines as his furiously efficient nemesis, Brian Cox looks fatter and more anxious as CIA spook Ward Abbott, and Joan Allen is all business as the new CIA Deputy Director.
Taut, gripping, brutally paced, "Bourne Supremacy" is as merciless as a drive-by shooting and as cool as the metal on a silencer at 3 AM on a Siberian morning. Check it out.
JSG
Description of The Bourne Supremacy (Widescreen Edition)
BOURNE SUPREMACY - DVD MovieGood enough to suggest long-term franchise potential, The Bourne Supremacy is a thriller fans will appreciate for its well-crafted suspense, and for its triumph of competence over logic (or lack thereof). Picking up where The Bourne Identity left off, the action begins when CIA assassin and partial amnesiac Jason Bourne (a role reprised with efficient intensity by Matt Damon) is framed for a murder in Berlin, setting off a chain reaction of pursuits involving CIA handlers (led by Joan Allen and the duplicitous Brian Cox, with Julia Stiles returning from the previous film) and a shadowy Russian oil magnate. The fast-paced action hurtles from India to Berlin, Moscow, and Italy, and as he did with the critically acclaimed Bloody Sunday, director Paul Greengrass puts you right in the thick of it with split-second editing (too much of it, actually) and a knack for well-sustained tension. It doesn't all make sense, and bears little resemblance to Robert Ludlum's novel, but with Damon proving to be an appealingly unconventional action hero, there's plenty to look forward to. --Jeff Shannon
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