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Finally, after a summer with record numbers of blockbuster 'threequels', the final one has arrived. The first of the bunch, May's Spider-Man 3, was a shaky enough start, but that proved arguably to be a high point compared to what was to follow (Pirates of the Caribbean: At World's End, Shrek the Third, etc.). Well, it holds the mantle of "Best Third Instalment of a Franchise in 2007" no longer: Bourne is here. Uniquely among this year's releases, and generally sequels as a whole, there never seemed to be any doubt that The Bourne Ultimatum would be good, the filmmakers having earned our trust with the excellent Identity and the even better Supremacy. A viewing of Ultimatum confirms that the trust is not misplaced.
In brief, Ultimatum fails to quite scale the heights of The Bourne Supremacy, but it is at least the equal of the original. Bourne and the assorted side characters globetrot more than ever before this time, with destinations ranging from Turin to New York via Morocco, London and more. Unlike some Bond outings, though, the film never comes across as just an excuse to show off photogenic locales, the various settings carefully chosen to form a cohesive and logical progression. Due to Bourne's even more extensive than usual travelling, the film has a more episodic structure than previous episodes, compounded by the fact that various assistants and assailants appear and disappear as the narrative demands it. This also leads to a slight feeling of repetition at points, with the similar situations happening multiple times: Bourne gets himself into a tricky spot, a protracted escape/pursuit ensues followed by a brief but impactful scuffle, then Bourne follows whatever clue he's just unearthed and leaves for his next destination. However, as has come to be expected, the pace never slackens for a moment and the action scenes are second to none.
The first major set-piece in the film, a tense game of cat-and-mouse around a packed Waterloo Station in London, is a prime example of why the Bourne series has come to be so respected and imitated. The whole sequence seems effortless, as if everything is actually occurring in real time and Paul Greengrass has happened to show up and point a few cameras at it. Although even the most minute detail in the sequence will no doubt have been intricately planned, there's no impression that the action has been storyboarded to within an inch of its life as in many blockbusters; the ad-hoc, improvisational filming style adds immensely to its illusion of reality. Greengrass' other tendency - his much-maligned love of the shaky handheld camera - returns too, but again, for the most part, it benefits the film. There are only a couple of instances in dialogue scenes where the camera noticeably wobbles unnecessarily.
The Bourne films have always been more of an acting showcase than similar action films and Ultimatum boasts perhaps the series' finest cast yet. The newcomers all slot in perfectly, Paddy Considine receiving a well-deserved appearance in the spotlight and Good Night, and Good Luck's Oscar-nominated lead David Strathairn ably fulfilling the thorn-in-Bourne's-side duties. Joan Allen's Pamela Landy and Julia Stiles' Nicky Parsons return, the former bringing her class and the latter finally given something to get her teeth into. Over the course of the three films, Matt Damon has visibly grown into the role, which is entirely fitting given the character's arc. It's a shame that this looks to be his last outing as the amnesiac assassin, but it's the perfect time to bow out. Despite there being two remaining (non-Ludlum) Bourne books to adapt, the film series has reached a natural conclusion. What's more, it's a conclusion that is thoroughly satisfying, and that is a rare thing indeed.
The summary
The Bourne Ultimatum may be more of the same, but in this instance, that's exactly what the doctor ordered. Other blockbuster directors should watch and learn.
