As a thinking man’s actioner Ultimatum continues the franchise’s firm grasp on how spy games are actually played. The film starts at the point where Jason Bourne (Matt Damon) is in Moscow having killed the assassin from Bourne Supremacy in a car crash. He has exacted his revenge for his girlfriend’s death but he is still haunted and needs to know how the hell he got into this predicament in the first place. Plus he’s got a new CIA schmuck Noah Vosen (David Strathairn) after him. Vosen has reopened the Treadstone project--now called Blackbriar--and is using a new cache of highly trained assassins to do his dirty work. Luckily for Bourne he’s got two women on his side: CIA lackey Pam Landy (Joan Allen) who while in the situation room tries to thwart Vosen at every turn; and Nicky Parsons (Julia Stiles) the young logistician who covers for Bourne whenever she runs into him. With their help our intrepid assassin circumvents the globe in typical Bourne fashion so he can hunt down his past in order to find a future. Damon has truly perfected his Bourne alter ego in this third go-around. With his cool demeanor he really makes it all look so effortless--jet-setting around the world fighting enemies off with pens books towels cars whatever he can get his hands on and covertly obtaining the information he needs. Damon is an accomplished actor no doubt able to take on a variety of roles--but he may never quite top Bourne. Damon is also surrounded by a top-notch supporting cast. In both Supremacy and Ultimatum Allen as Landy stands out in the crowd of power-hungry men she works for and with infusing the proceedings with a steely intelligence--and ultimately compassion. Stiles too is a breath of fresh air in the otherwise testosterone-filled environment and her Nicky may actually have more of connection to Bourne than we previously thought. The stellar Strathairn a character actor who can play both hero and villain with relative ease adds the sneaky Vosen to his list of bad guys while Albert Finney makes a brief but memorable appearance as a link to Bourne’s past. Helming his second Bourne installment after getting our hearts pounding with Supremacy Paul Greengrass (United 93) gets it. Although the Bournes sprouted from the furtive mind of spy-thriller author Robert Ludlum the director seems keyed into the whole spy genre as well handing us what feels to be a genuine look at how covert operations might work. From the operations center in which CIA personnel can find ways to tap into a target’s life via any number of ways to the action on the streets Greengrass keeps it moving at a whiplash pace. We’ve now come to expect the seat-clenching car chases along with at least one hand-to-hand combat scene between Bourne and some other super assassin in which Bourne kills his attacker with sheer brute force aided by some everyday item. Still they never seem redundant flowing nicely into the storyline. Greengrass’ filmmaking style however can be a tad jolting at times. He loves putting the audience in the middle of the action swinging the camera around fast-cutting between shots keeping things slightly confusing on who’s doing what to whom. But that real-time look and feel is what makes the Bourne movies unique from other actioners. Could there be room for a fourth Bourne? One can only hope.
Oh cruel technology! With so many remote controls for so many devices Michael Newman (Adam Sandler) always clicks the wrong power button. He’s sick of it. The workaholic is also sick of being too busy to find time for his family. On a late-night trip to Bed Bath & Beyond in search of a universal remote he kills two birds with one stone. After passing the bed section and the bath section Michael reaches the “beyond ” where he meets an eccentric man named Morty (Christopher Walken) who offers a remote to control his life. No more wasting time or missing out--he can fast-forward rewind and pause; his life is his own personal TiVo. It’s all well and good until he abuses the fast-forward button and misses all the beautiful minutiae of life. Before long he’s old sick and alone and realizes--thanks to the rewind button--that he was never there for his family. It’s a simple twist of fate for Michael but it’s neither his only one nor his simplest. With Click some Sandler fans may fear he’s veering towards the Jim Carrey path of gradually more earnest roles. No fear necessary however for this is not Carrey’s Eternal Sunshine of the Spotless Mind (similar as the broad existential strokes may be) and it’s not even Punch-Drunk Love. It’s merely light tear-jerking Sandler-style. He does prove in addition to his beaten-path shtick-y performance that he has some drama in him after all these years--which may or may not foretell more serious roles down the road. But there’s still an abundance of his trademark goofiness to go around. As Sandler’s onscreen wife Kate Beckinsale might go unnoticed if not for her scene-stealing beauty. Her interplay with Sandler is husband-wife cute if nothing else. Consistently funny supporting turns from Walken and David Hasselhoff--as Sandler’s jerk of a boss--provide the usual semi-big names that Sandler movies typically boast. Click is a high-concept film--too bad it’s all “summer-ed” up (or down) because film might be the best medium to explore such a fascinating and potentially deep notion. But this is summertime Sandler after all and who better to keep the serious stuff from getting too serious than Sandler’s pal/collaborator (and director of The Waterboy and The Wedding Singer) Frank Coraci? The director has the Sandler fan base at heart and the result is thus decidedly unsubtle and not always pretty for a movie that should’ve in all honesty gone with more gusto towards the morose undertones the story puts into place--though the director at least didn’t completely steer away from dramatic elements. The usual goods are still here (i.e. fart jokes Sandler’s at times hilarious yapping) but the pivotal flashbacks and life themes feel crammed adding to the movie’s general unevenness. Bruce Almighty writers Steve Koren and Adam O’Keefe add their supernatural twist to straightforward comedy but they fail to produce anything beyond a slightly less-funny Bruce with a side of Multiplicity and Mr. Destiny.