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.
Based on the best-selling book by Mark Foster Game tells the remarkable real-life story of Francis Ouimet (Shia LaBeouf). He was a working-class immigrant kid who in the early 1900s turned the privileged world of golf on its ear. The story begins with Francis working as a caddie at a posh country club where he masters the game by quietly practicing on his own. His French-born father (Elias Koteas) thinks he's wasting his time and should be earning an honest wage but Francis is far too smitten with the game to give it up. Francis finally gets his big break when an amateur spot opens up at the 1913 U.S. Open. With a feisty 10-year-old caddie named Eddie (Josh Flitter) by his side egging him on Francis plays the best he ever has. He eventually finds himself facing off against the sport's undisputed champion Harry Vardon (Stephen Dillane) a U.S. Open winner and six-time British Open champion (a record that still stands today). Their legendary battle changes the face of the sport forever--but I wouldn't necessarily call it the greatest game ever.
Game is one of those juicy little biopics actors can really sink their teeth into. Starting with our young lead LaBeouf (Holes) is sufficiently determined as the guy playing against impossible odds. His Francis with his liquid brown eyes and winning smile is full of optimism and raw talent that propels him into the majors. And he looks pretty authentic swinging a golf club too. Still it may be time for LaBeouf to move on from the Disney family fare and do something grittier sort of like what he showed in Constantine. Dillane--who was so achingly good in The Hours as Virginia Woolf's beleaguered husband--also does a fine job as the legendary Vardon a man haunted by his own demons. In a way Game is a story about both men who have more in common than they realize. Although a top professional in the sport Vardon has to fight against the elitist golfing community's prejudices. You see Vardon grew up dirt poor on the plains of Scotland and because of his background was never permitted into any "gentleman's" clubs. The cast of colorful supporting players add to the film especially Flitter as the caustic but encouraging Eddie. He may be small but he packs a wallop. The last shot of the movie features Francis and Eddie walking off the golf course at sunset evoking the classic Casablanca ending line "This is the start of a beautiful friendship"--which apparently really happened. The real-life Eddie and Francis remained friends for the rest of their lives.
The main slice against Game is that it's about golf. Besides comedies such as Caddyshack and Happy Gilmore a serious movie about the game really isn't going to stir your soul say like football or baseball. But actor-turned-director Bill Paxton--who made his directorial debut with the creepy Frailty--takes the story and keeps it convincingly affecting. Much like Seabiscuit it's the real-life historical context that makes Game even more compelling. Paxton painstakingly details how the game was played at the turn of the century--and who was allowed to play it. The whole discriminatory arrogance surrounding the game makes the stakes even higher for our heroes. Vardon had a score to settle while Ouimet simply became the game's new hero paving the way for legendary whiz kids like Tiger Woods to step up on the green. Paxton also views Game as a Western. The final golf round between Vardon and Ouimet is the ultimate shootout á la the OK Corral in which the camera angles are inventive--a bird's eye view of the ball sailing through the air or gliding on the green into the hole. Plus he keeps the tension as taut as he can considering the less than exhilarating subject matter. Oh come on who isn't a sucker for a good sports underdog story even if it is golf?
Director John Woo has left Sony and signed a three-year movie and TV deal with MGM, according to Entertainment Weekly Online.
Woo didn't end up making any films with his resident studio, planning two other projects instead with MGM. The projects include "Wind Talkers," starring Nicolas Cage. For now, Woo's got another action flick on his plate: "Mission: Impossible 2," starring Tom Cruise, opens this summer.
SECRET AGENT MAN: John Dahl, who directed the noirish Matt Damon poker pic "Rounders," is in talks with Mandalay Pictures to direct "End Game," a spy flick starring Sean Connery, reports Daily Variety. Written by Adi Hassock and Stuart Kelban, Connery will play an old-fashioned CIA agent who goes on a special undercover assignment to expose illegal arms dealing. In the process, he discovers that he's been set up to take the fall in a conspiracy. Connery then teams up with a young counterpart to prove his innocence.
LET'S HOPE IT'S TEMPORARY: "Cruel Intentions" director Roger Kumble is in final talks to helm Columbia Pictures' romantic comedy "Screenplay Without a Title Yet." The story follows a club-hopping hipster who believes she's finally met her soulmate. The next morning at a wedding party, she is horrified to find that he's the groom. According to Variety, "Screenplay" was purchased for $1.5 million from "South Park" staff writer Nancy Pimental.
WHAT, NO FOUL-MOUTHED ANGELS?: As if he's just asking for "Dogma"-like religious controversy, "King of the Hill" creator Mike Judge will direct "Messiah Complex," a comedy about a pious college student who starts to believe he was cloned from the Shroud of Turin. No word on whether Beavis and Butthead will co-star.
SPELLING BEE: Catherine Zeta-Jones, who's been a busy bride-to-be lately, is in talks to star in "Traffic," a film that looks at the high-revenue industry of drug trafficking. According to EW Online, the film is based on the acclaimed British miniseries "Traffik," but American studios had to change the title. But we're still afraid moviegoers will think it's a film about the Los Angelesfreeways.
REAL TRAFFIC: Jamie Foxx, fresh from his success in "Any Given Sunday," will star in "National Security," a buddy-cop comedy. Foxx will play a man beaten by a white cop, who then teams up with the officer wrongly accused of the beating.
ADDITIONS: Liev Schreiber, a recent Golden Globe nominee for the cable film "RKO 281," will join the cast of "Pay it Forward," starring Kevin Spacey, Helen Hunt and Haley Joel Osment... Tim Guinee ("Blade") has been added to Dimension Films' "Impostor," whichstars Gary Sinise and Madeleine Stowe ... Lisa Thornhill ("Ally McBeal") has been tapped to co-star with Nicolas Cage in "Family Man," to be directed by Brett Ratner ("Rush Hour") ... Alexandra Paul ("Baywatch") will co-star with Ron Silver in the independent film "Exposure," to be film in NewZealand.