Or something to that effect. Watching The Bourne Ultimatum is like snorting a pound of cocaine while just sitting around. The movie is so thrillingly quick and just so much goddamn fun. Most reviews have supplicated themselves at the throne of the King of Jerky-Camera-Land Paul Greengrass (the movie director who also did the ultra-wrenching United 93); that being said, there isn’t much of a point in me telling you the same things that everybody else has already reiterated.
What I will say is this; watch out for the background score. I’m no audiophile, but the action wouldn’t be half as fun (and even half would be awesome) without John Williams’ fantastic musical touch.
If you haven’t been to Europe yet, the movie will serve as a voyeur’s dream; you’ll feel you are right there with Bourne. The locations are nothing short of amazing – Moscow, Turin, London and of all places Tangiers, Morocco. The sequence in Tangiers is my personal favorite since that’s not a city you see frequently in American cinema; Greengrass uses that fact with amazing effect as Bourne jumps Crouching-Tiger-style from roof to roof. The sequence reaches its crescendo when Bourne and another CIA assassin go at it mano-a-mano in a dingy Tangiers apartment. Watch out also for the kick-ass shot in which Bourne jumps off a roof and flies right through a glass window – nothing short of exhilarating.
The end is a little bit weak since the rug that the moviemakers are trying to pull out from under us ends up being totally threadbare; the suspense is totally overstated. But it’s Bourne’s journey home to NYC that makes the movie a massive adrenaline surge.
Now you just have to hope that someone can convince Dick Cheney to watch it.