Tony Gilroy, so desperate along with Universal Studios,
to continue the cash cow of the Jason Bourne film series that he personally
crafted and adapted from books to films, went ahead with a fourth film even
after Matt Damon, the series’ eponymous hero, bowed out. How can you have a
Bourne film without Bourne? They could have decided to make it something like
the Bond series, replacing the actor periodically as they age out of the role,
providing the character contemporary problems to confront. But then it would
have run the risk of copycat syndrome, I guess. So instead Gilroy, with the
help of his brother Dan, decided with The
Bourne Legacy to keep it all in the same universe, but provide a new
protagonist in Aaron Cross, a super-assassin involved in a program similar to
the Treadstone project that created Bourne. It’s an expansion of the Robert
Ludlum series of books, taking the title, but nothing of the story, from the
fourth book, which wasn’t even written by Ludlum. Confused? It doesn’t matter
because The Bourne Supremacy and The Bourne Ultimatum had already
deviated far from Ludlum’s novels.
Jeremy Renner is craftily molding himself into the
Hollywood action hero Everyman with recurring roles as Hawkeye in The Avengers, a possible franchise
opportunity as the new hero of Mission:Impossible, and now as Cross in the Bourne series. He’s got the physicality
for these sorts of roles, but he’s also got the acting chops that I hope this
doesn’t become the majority of his career during his prime acting years. Edward
Norton comes on board as Eric Byer, the bureaucrat controlling everything from
a central command center. He’s essentially Cross’s adversary, along with
another bureaucrat played by Stacy Keach, although they share no screen time with
Renner apart from a brief and unnecessary flashback showing that Byer and Cross
once met on a military mission. This idea of the antagonist who never meets the
hero face-to-face has been a hallmark of the series. Cross has to face down
unmanned drone attacks and deadly assassins, but these are the mere tools of
the real foe – the government bureaucracies that use and abuse these men in
order to achieve some larger global end.
I think it would be helpful to refresh yourself on the
earlier films, especially The Bourne
Ultimatum, to follow the early minutes of The Bourne Legacy. The plot has connections to the events of that
film and I even think some of the events are simultaneous. There are character
overlays (Scott Glenn, David Strathairn, Paddy Considine, and Joan Allen all
have brief appearances as their characters in the earlier films) and rapid-fire
dialogue referencing information we are supposed to know from Ultimatum regarding Treadstone and
Blackbriar, the government programs to create world traveling assassins. The
new program of which Cross is the latest participant/victim is called Outcome.
It involves chemically altering the assassins’ genetic makeup to improve both
their physical and cognitive abilities. The science here is glossed over, but
enough information is provided that I was convinced that these things could,
theoretically, be possible. However, certain elements of the plot, depending on
chemical brainwashing and behavior modification I found to be out of the world
of comic books rather than the grounded reality that the Bourne series is meant
to take place in. Rachel Weisz plays a researcher who works in the lab testing
this stuff out. I won’t get into the details of how and why, but she ends up in
tow trotting around the globe and on the run with Cross.
Gilroy also directed the film. Deft screenwriter though
he may be, his touch as an action director needs some serious work. The film
culminates, as most modern action movies do, in an extended and interminable
chase sequence involving motorcycles at high speed, crowded Filipino markets,
and death-defying stunts. Gilroy and film editor John Gilroy (Tony’s other
brother) don’t seem to understand that there is a formal way to cut together a
coherent action sequence. The shots don’t match, the cuts constantly cross the
line, the flow of action moves in multiple directions across the screen.
Watching it and trying to follow who is in what vehicle and what is going on
turned out to be an exercise in dizzying futility. The series is severely
wanting for the team of Paul Greengrass, with his crisp directorial style, and editor
Christopher Rouse.
The screenwriting brothers Gilroy miss some big
opportunities to turn the film toward interesting and exploratory philosophy
regarding the government’s use of expendable human beings to do its dirty work.
Also, the Weisz character’s naïve involvement in an experimental process to
alter a person’s DNA is given short shrift. Only very briefly does Cross
question her judgment in going along with a program without questioning the
effects of her work because she got to do the research that so energized her as
a scientist. There are interesting questions being asked her involving what we,
as people with aspirations, are willing to sacrifice in order to achieve our
personal goals. But the Gilroys don’t afford it any real thought and instead
leap right into the next confounding action sequence. Stick with the Matt Damon
films.
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