Movies about Ultimatum
Jason Bourne continues his international quest to uncover his true identity while staying one step ahead of those who want to kill him.
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Cutting to the chase
Run, Jason, run. The Bourne films have taken chases beyond a storytelling technique and made them into the story. Jason Bourne’s search for the secret of his identity doesn’t involve me in pulsating empathy for his dilemma, but as a MacGuffin, it’s a doozy. Some guy finds himself with a fake identity, wants to know who he really is and spends three movies finding out at breakneck speed. And if the ending of «The Bourne Ultimatum» means anything at all, he may need another movie to clear up the loose ends.
That said, so what? If I don’t care what Jason Bourne’s real name is, and believe me, I sincerely do not, then I enjoy the movies simply for what they are: skillful exercises in high-tech effects and stunt work, stringing together one preposterous chase after another, in a collection of world cities with Jason apparently piling up frequent-flier miles between them.
«Ultimatum» is a tribute to Bourne’s determination, his driving skills, his intelligence in out-thinking his masters and especially his good luck. No real person would be able to survive what happens to him in this movie, for the obvious reason that they would have been killed very early in «The Bourne Identity» (2002) and never have survived to make «The Bourne Supremacy» (2004). That Matt Damon can make this character more convincing than the Road Runner is a tribute to his talent and dedication. It’s not often you find a character you care about even if you don’t believe he could exist.
This time, Bourne is engaged in a desperate hunt through, alphabetically, London, Madrid, Moscow, New York, Paris, Tangier and Turin, while secret CIA operatives in America track him using a perplexing array of high-tech gadgets and techniques. I know Google claims it will soon be able to see the wax in your ear, but how does the CIA pinpoint Bourne so precisely and yet fail again and again and again to actually nab him? You’d think he was bin Laden.
And why do they want him so urgently? Yes, he is proof that the CIA runs a murderous secret extra-legal black-ops branch that violates laws here and abroad, but the response to that is: D’oh! The CIA operation, previously called Treadstone, is now called Blackbriar. That’ll cover their tracks. It’s like if you wanted to conceal a Ford plant, you’d call it Maytag. Seeking a hidden meaning in the names, I looked up Treadstone on Wikislovník.com and found it is a «fictional top-secret program of the Central Intelligence Agency in the Jason Bourne book and movie series.» Looking up «Blackbriar,» I found nothing. So they are hidden again from the Wik empire.
In his desperate run to find the people who are chasing him, Jason hooks up in Madrid with the CIA’s Nicky Parsons (Julia Stiles), who is given several dozen words to say with somber gravity before Jason is off to Algiers and running through windows and living rooms in the Casbah; I think I recognized some of the same steep streets from «Pepe Le Moko,» which is a movie about just staying in the Casbah and hiding there, a strategy by which Jason could have avoided a lot of property damage.
Of course there are sensational car chases, improbable leaps over high places, clever double reverses and lightning decisions. Sometimes we cut back to CIA headquarters (although surely a secret CIA black-op would not be hidden in its own headquarters) and meet agent Pamela Lundy (Joan Allen), who suspects maybe there is something to be said on Jason’s behalf, and her boss Noah Vosen (David Strathairn), who must have inherited hatred of Bourne as part of the agency’s institutional legacy, since he wasn’t in the first two movies. And then finally that shadowy nightmare figure in Bourne’s flashbacks comes into focus and, in the time-honored tradition of the Talking Killer, explains everything instead of whacking him right then and there. After which there is another chase.
The director, masterminding formidable effects and stunt teams, is Paul Greengrass («United 93,» «The Bourne Supremacy»), and he not only creates (or seems to create) amazingly long takes but does it without calling attention to them. Whether they actually are unbroken stretches of film or are spliced together by invisible wipes, what counts is that they present such mind-blowing action that I forgot to keep track.
There are two kinds of long takes: (1) the kind you’re supposed to notice, as in Scorsese’s «GoodFellas,» when the mobster enters the restaurant, and (2) the kind you don’t notice, because the action makes them invisible. Both have their purpose: Scorsese wanted to show how the world unfolded before his hero, and Greengrass wants to show the action without interruption to reinforce the illusion it is all actually happening. Most other long takes are just showing off.
But why, if I liked the movie so much, am I going on like this? Because the movie is complete as itself. You sit there, and the action assaults you, and using words to re-create it would be futile. What actually happens to Jason Bourne is essentially immaterial. What matters is that něco must happen, so he can run away from it or toward it. Which leads us back to the MacGuffin theory.
Roger Ebert
Roger Ebert byl filmovým kritikem Chicago Sun-Times od roku 1967 až do své smrti v roce 2013. V roce 1975 získal Pulitzerovu cenu za vynikající kritiku.
Bourneovo ultimátum
B ourne again! That super-lean, super-mean CIA tough guy Jason Bourne is back in this enjoyable piece of postmodern action mayhem. It is kept at a wildly frenetic pace by British director Paul Greengrass, who I can only suppose drank his own bodyweight in espresso each day before starting work.
This is the role that turned beardless young Matt Damon from boy into grizzled man. He is the terrifyingly well-trained operative, with high, tight pecs in a dun-coloured T-shirt, who had his memory erased, but who is on the trail of those faceless pointy-headed executives on his own team who betrayed him, and now want to take him out before he gets his memory back and blows the whistle on their illegal death squads. (The movie conforms, incidentally, to the post-9/11 Hollywood rule that only Americans are allowed to be effective bad guys.)
What is especially gratifying is that Bourne teams up with a dashing young investigative reporter from this very newspaper, who is also on the trail of the CIA conspiracy — played by Paddy Considine. What made them cast this actor? It wasn’t his initials was it? I personally like to think it is an overdue acknowledgment of the essentially glamorous and exciting nature of our jobs here at the Guardian.
There is a nail-bitingly tense scene when the Guardian journalist has to report to his superior, who does indeed resemble our own distinguished editor. He and Bourne then go on the run, tracked from our office in London by an agency surveillance spook who has chillingly given the order to «prepare rendition protocols». Yeah? Bring it on mate. Guantánamo doesn’t scare Guardian employees. We are unflinching in the face of danger, and this film proves it. Our heroes wind up in London’s crowded Waterloo station where they have to duck bullets from a rogue CIA sniper.
Bourne’s adventures take him to Paris, London, Madrid, New York and Tangier, where Greengrass uncorks some gobsmacking stunts and OTT action sequences. All the time Bourne is being observed by a team of geeky laptop-watching agents based in the US, who shout out details of Bourne’s latest escapades to the incredulous CIA chief, played by David Strathairn. («Sir, he just drove off the roof!» «Whaaaaat?») However, there is a nice CIA boss, played by Joan Allen, who wants to bring Bourne in alive.
In the traditional way of these things, Bourne can keep going for days and days without sleeping, without eating, without shaving, and he has a kitbag with an infinitely expandable Tardis-like interior, in which he keeps an endless supply of guns and kit. Jason Bourne is always waltzing into CIA buildings to nick files, using what appears to be his own ID swipecard to work the turnstiles. Er . didn’t human resources get the email about cancelling the guy’s card?
It’s all very absurd, but there’s no doubt about it: the Bourne franchise delivers more entertainment-bangs for your buck than anything else comparable. And it’s an action movie with an IQ.
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