Somewhere on the Albanian border, bets are laid and a
rough fight is on. A rather aged and shirtless Matt Damon throws a killer punch
and wins. Of course, Damon playing Bourne with his clothes on will win outside
the ring too when CIA director Robert Dewey wants to take him down.
Bosses and bad people sitting continents away hack
into and destroy one another’s files and breach security systems. They
orchestrate operations and bring down targets from thousands of miles away. Director Paul Greengrass keep the scenes and
the camera moving breathlessly over Reykjavik, Athens, the Silicon Valley, Virginia and Berlin, until the
core problem is clear. Personal rights versus
public safety is a contemporary concern. For CBI Director Dewey privacy can go
take a walk as he wants a full surveillance programme. IT guru Aaron, on the
other hand, advocates freedom where nobody’s watching you. But nothing’s really clear as favours quietly
exchanged can influence public posturing. Alongside, Jason Bourne’s identity
crisis continues to torment him this time over his father’s death. Finally, a CIA
“asset” despatched to bring down Bourne merges into the same face and entity as
his dad’s killer.
Within the CIA too, temperaments differ. A more
sympathetic Heather Lee would like to bring Jason into the fold. Dewey would
rather put a bullet in his head, never mind the body count.
Bourne is set within a familiar template. The tempo is fast, the intrigues are
vague and Matt Damon’s fists talk, his lips rarely move.
Damon needs to rest as he’s beginning to look as weary
as Jason Bourne must be feeling over his identity. Alicia Vikander as Bourne’s
softer colleague in the CIA requires only one stock anxious expression. Playing
uncompromising Robert Dewey, actor Tommy Lee Jones too, isn’t given a varied
wardrobe of expressions. But hardcore Bourne fans may still like the two-hour
For a quick-moving spy story using little more than today’s
satellite communication, Jason Bourne
gets a 2.5* rating.
Bharathi S Pradhan
Senior Journalist & Author