The Bourne Ultimatum

Rating:	★★★
Category:	Movies
Genre:	Action & Adventure

As last installment in the Bourne trilogy—The Bourne Ultimatum—makes clear that going back to the past that went wrong and retrieving it properly will certainly make things right for anyone. Any past that had been wrong all along is where anyone should start in order to go some place definite and clear. This is after all the case of Jason Bourne, whose identity is either identified and/or altered by the CIA who has in fact given birth to him.

According to the film, the search for the self is still the most difficult to undertake. When Jason Bourne is faced with the dilemma to know his real name, his identity, the movie reminds us of Logan’s return to his creator who made a wolf out of him in X-Men. After suffering the death of his girlfriend in India, he feels there is no way he could hide from his pursuers. He has to go back to who he is so he could proceed further.

As regards acting, there is something in Matt Damon that makes us say he must have taken this role seriously. While he made it clear in one published interview that he had to study the role seriously because it demands him so, he displays it just thus in the manner that he is the character, and no one else. In fact, the composed yet human Bourne temperament has stood all through the film—he just convinces the audience enough.

Forgive nothing. After he has pinpointed the identities who made miserable out of his life and sensibility, Jason Bourne just has to show us that they can never deter him from prevailing in the end. After all, he has been left with no choice but to “hunt down his past in order to find a future.”

While Pamela Landy’s (Joan Allen) character figures as the mother figure for the child in Jason who is simply bullied by his elder brothers, David Straithairn’s grim aura that stalks on the hero spells evil the most articulately.

Meanwhile, the CIA operations set to eliminate Bourne may be hackneyed on varied grounds. But the Blackbriar thingy makes clear that the corrupt human nature cannot just cease to exist, which is why Ludlum must have written the trilogy.

Sadly though, the film has greatly departed from the Ludlum masterpiece—splicing critical plot lines into oblivion. Yet, with Damon’s significant delivery of character and the dizzying action sequences reminiscent of and even surpassing the previous two projects (“Bourne Identity” in 2002 by Doug Liman and “Bourne Supremacy” in 2004 by Paul Greengrass), this powerhouse project comes out hardly unscathed.