Do the Bourne movies make any sense? Enough. The first three films — The Bourne Identity Supremacy and Ultimatum — throw in just enough detail into the covert ops babble and high-speed action that by the end Jason Bourne comes out an emotional character with an evident mission. That's where Bourne Legacy drops the ball. A "sidequel" to the original trilogy Legacy follows super soldier Aaron Cross (Jeremy Renner) as he runs jumps and shoots his way out of the hands of his government captors. The film is identical to its predecessors; political intrigue chase scenes morally ambiguous CIA agents monitoring their man-on-the-run from a computer-filled HQ — a Bourne movie through and through. But Legacy has to dig deeper to find new ground to cover introducing elements of sci-fi into the equation. The result is surprisingly limp and even more incomprehensible.
Damon's Bourne spent three blockbusters uncovering his past erased by the assassin training program Treadstone. Renner's Alex Cross has a similar do-or-die mission: after Bourne's antics send Washington into a tizzy Cross' own training program Outcome is terminated. Unlike Bourne Cross is enhanced by "chems" (essentially steroid drugs) that keep him alive and kicking ass. When Outcome is ended Cross goes rogue to stay alive and find more pills.
Steeped heavily in the plot lines of the established mythology Bourne Legacy jumps back and forth between Cross and the clean up job of the movie's big bad (Edward Norton) and his elite squad of suits. The movie balances a lot of moving parts but the adventure never feels sprawling or all that exciting. Actress Rachel Weisz vibrant in nearly every role she takes on plays a chemist who is key to Cross' chemical woes. The two are forced into partnership Weisz limited to screaming cowering and sneaking past the occasional airport x-ray machine while her partner aggressively fistfights his way through any hurdle in his path. Renner is equally underserved. Cross is tailored to the actor's strengths — a darker more aggressive character than Damon's Bourne but with one out of every five of the character's lines being "CHEMS!" shouted at the top of his lungs Renner never has the time or the material to develop him.
Writer/director Tony Gilroy (Michael Clayton Duplicity and the screenwriter of the previous three movies) is a master of dense language but his style choices can't breath life into the 21st century epic speak. In the film's necessary car chase Gilroy mimics the loose camera style of Ultimatum director Paul Greengrass without fully embracing it. The wishy washy approach sucks the life out of large-scale set pieces. The final 30 minutes of Bourne Legacy is a shaky cam naysayer's worst nightmare.
The Bourne Legacy demonstrates potential without ever kicking into high gear. One scene when Gilroy finally slows down and unleashes absolute terror on screen is striking. Unfortunately the moment doesn't involve our hero and its implications never explained. That sums up Legacy; by the film's conclusion it only feels like the first hour has played out. The movie crawls — which would be much more forgivable if the intense banter between its large ensemble carried weight. Instead Legacy packs the thrills of an airport thriller: sporadically entertaining and instantly forgettable.
Set in the turbulent ‘60s each character in Across the Universe represents a different aspect to the unstable times. There’s naïve Lucy (Evan Rachel Wood) whose eyes are opened to the possibilities of life beyond her WASPy sheltered upbringing; adventurous Jude (Jim Sturgess) who breaks away from his Liverpool working-class roots to make it as an artist in New York; and Lucy’s brother Max (Joe Anderson) a college dropout who eventually gets drafted and sent to Vietnam. There’s also Sadie (Dana Fuchs) a Janis Joplin-esque rock singer; her guitar-playing lover Jo-Jo (Martin Luther McCoy) who hails from the riot-torn streets of Detroit; and even a burgeoning lesbian named Prudence (T.V. Carpio). They are all soon swept up into the '60s' emerging psychedelic anti-war and counterculture movements while Across the Universe lets the songs from one of the era’s most influential bands tell the story. But what drives the film is Jude and Lucy’s love for each other—and all you need is love right? You know you are in for something different when indie darling Evan Rachel Wood (Thirteen) is the most recognizable star. Luckily for Across the Universe the cast of unknowns delivers--and then some. Making his film debut newcomer Sturgess is a particular standout looking very much like one of the Beatles boys in their heyday. His earnest performance as the love-struck Jude immediately hits a chord (pun intended) and he makes breaking out into a Beatles tune seem entirely natural. Wood doesn’t seem as comfortable with the vocals but the actress has a lovely voice--and of course handles Lucy’s emotional ups and downs with aplomb. All the rest of the supporting cast does a wonderful job adding their own unique reinterpretations to the songs (and yes both “Hey Jude” and “Dear Prudence” pop up). The big fun with Across the Universe however are the cameo appearances: Eddie Izzard sings “Being for the Benefit of Mr. Kite” as a surreal circus ringleader; Joe Cocker sings “Come Together” alternating between a pimp bum and hippie; Salma Hayek takes nursing to a new level in a “Happiness Is a Warm Gun” number; and finally U2’s Bono sings “I Am the Walrus” as the Beat poet/counterculturist Dr. Robert. You haven’t experienced life until you've heard Bono sing “Goo goo g'joob.” In any original musical there is always something a little disconcerting when a character just breaks out into song even if it’s Julie Andrews standing on top of a mountain. But as with Moulin Rouge a character singing a song we all recognize--well that’s a little different. And honestly who doesn’t love Beatles music? Still director Julie Taymor (Frida) took a big chance creating a musical around the legacy that is Beatlemania. It must have been a daunting task searching through the annals of Beatles music to find just the right tunes for just the right moment--but her extremely inventive ways truly pay off. From Uncle Sam screaming “I Want You!” from a poster hanging in an Army recruiting office to Max and his college buddies running around campus belting out “With a Little Help from My Friends ” everything fits taking us on this journey of life love and self-enlightenment. Although Taymor’s forte clearly lies with the very wild and artistic most evident in Across the Universe’s psychedelic acid trips she also expertly highlights the stark reality of a turbulent time. Taymor is a romantic at heart though—a romantic who adores the Beatles. John Lennon would be proud.
Here's a story about two murderesses who backstab lie and cheat--plus sing and dance--in order to make themselves stand out in roaring 1920s Chicago a town full of legends. Honestly what more could you ask for in entertainment? Velma Kelley (Catherine Zeta-Jones) who has a sensational nightclub duo with her sister blanks out and shoots her philandering husband after she catches him cheating on her--with said sister. She lives the high life in jail enjoying the perks as long as she pays for them given to her by the warden Matron "Mama" Morton (Queen Latifah). Velma also hires Chicago's slickest lawyer Billy Flynn (Richard Gere) to keep her notorious murder case on the front page. Enter little Roxie Hart (Renee Zellweger) a wannabe singer/dancer who's entranced by Chicago's promise of fame and fortune and winds up on the row for offing her abusive lover because he lied to her about breaking her into show biz. Billy immediately recognizes enormous potential in Roxie's crime of passion and while postponing Velma's case turns Roxie into America's latest sweetheart. The press loves her and Roxie milks it for all it's worth convinced she'll be famous when it's all over. The jilted Velma however has other plans for little Miss Perfect and sets out to sabotage Roxie's case. The two women stop at nothing to top one another and claim their rightful place in the spotlight. Still maybe there is room for two on that stage after all.
Once again we see how Hollywood movie stars can sometimes do more than emote on screen. Michelle Pfeiffer wowed audiences when she sang her own songs in The Fabulous Baker Boys; Nicole Kidman knocked 'em dead in Moulin Rouge. Now we have Zellweger Gere and Zeta-Jones singin' and struttin' their stuff in Chicago. The three do an admirable job handling the musical chores though Zellweger emerges as the best of the trio. Her dancing skills may need a little work but they're thankfully kept to a minimum and she certainly possesses the right amount of charisma to pull the whole musical thing off. Gere continually surprises you once you get over the fear that he's going to fall flat on his face. He even manages to pull off a tap-dancing number. Zeta-Jones who lobbied hard for the part of Velma makes her talent as a dancer evident but it's possible that Bebe Neuwirth (TV's Frasier) who originated the part in the recent Broadway revival may have fit the bill a little better. (The casting is reminiscent of the decision to give the big-screen lead in My Fair Lady to Audrey Hepburn instead of the Broadway show's star Julie Andrews.) And John C. Reilly miraculously shows some talent as a singer playing Roxie's husband Amos who supports his wife even after she cheated on him. Reilly adds this character to his list of schlub husbands this year (The Good Girl; The Hours).
Like last year's Oscar-winning Moulin Rouge Chicago's sleek production values may trumpet the triumphant return of the big-screen musical. Director Rob Marshall whose only other directorial credit is turning the musical Annie into a well-made television mini-series knows how to frame the musical numbers within the context of the story. As Roxie fantasizes about just how famous she is going to get the action segues into a dazzling solo in front of mirrors. Another standout is Queen Latifah's introductory song as Mama Morton where the scene switches between her drab warden walking through the jail and her buxom lounge siren working the audience. The film really comes alive though during the "murderess row" number where a series of jailed women explain exactly what they did to get where they are. But in this fantastic spectacle lies the main problem with the film. The scene sparkles because it incorporates real dancers women who obviously know how to dance the way Chicago's original creator/choreographer Bob Fosse intended them to dance. At this point in the film you almost wish you were watching Chicago live on stage where dancers do amazing choreography without the comfort of knowing their performance will be edited. Singing is the easy part; if musicals are truly going to make a comeback on screen Hollywood will have to go back to what it did in the '30s and '40s--groom professional dancers into movie stars. Fred Astaire where are you when we need you?