The Bourne Supremacy

“The Bourne Identity” was about as good as spy thrillers get, so it was hard not to have high hopes for the sequel. Maybe that was a mistake, because “Supremacy: is, in a word, disappointing. Doug Liman, who directed the first film with impressive control, has been replaced by Paul Greengrass, whose directorial philosophy seems to based upon the premise that no shot can be too short, no edit too quick, and no camera too jerky. Oddly, a lot of the mainstream critics have hailed this "technique," which in virtually all other instances they would have decried. Rather than putting you in the middle of the action, as seems to be the intent, Greengrass's approach makes it almost impossible to follow what is going on, and don't be surprised if it gives you a headache to boot. (It reminds me of the later Steven Seagal movies; as he gets too old and heavy to actually perform the martial arts stunts depicted, the filmmakers seem to rely increasingly upon rapid cutting to create the illusion of speed and skill.) Star Matt Damon remains effective as the reluctant superspy, but he is hobbled by a script that is at best talky and at worst sloppy and confused.

Similarly, the supporting cast (including Joan Allen and an underutilized Julia Stiles) is good, but they are stuck with endless scenes of internal spy agency bickering and backstabbing, the likes of which are all too familiar to hold much interest. What we want is Jason Bourne thrashing bad guys and finding himself (note to to producers: fewer flashbacks and nightmares next time, please); what we get is a bunch of spyocrats endlessly discussing a failed operation left over from the first movie. “Supremacy” does have a few decent moments, but it is indicative that the most memorable thing in it is the idea that when top spies are picked up at the airport, rather than riding in the ominous black SUVs of yore, they ride in... Chrysler minivans. If that isn't a sign of lowered expectations, I don't know what is.