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.
Dr. Leonard Schiller (Frank Langella) is a novelist and retired college professor whose body of work includes a novel many critics considered a great classic when published decades ago. But that was then this is now as Schiller struggles to finish his latest novel one that has so far taken him 10 years to write. Into his life comes Heather (Lauren Ambrose) a brash college student who is writing her thesis on Schiller and his work. She’s a pretty beguiling thing filled with ambition and drive; and those are exactly the things that Schiller has somehow lost along the way. As the two of them form an uneasy relationship with Schiller’s daughter (Lili Taylor) as a third part of this emotionally repressed triangle the story unfolds with twists and turns. The finale reminds us that no matter how old we are if we want to do something artistic then even Starting Out in the Evening of our lives is better than never getting going at all. Langella’s stellar performance is at the heart of this quietly affecting film. He plays Schiller as an insulated emotionally bereft artist whose life spark died the moment he lost his wife (decades before) in a car crash. He’s never had the passion to write to the level he did before she died; nor has he had passion for much of anything else including his daughter until Heather shows up at his door and insists he begin to feel life again. Ambrose (of Six Feet Under fame) is perfectly cast as the young woman who hero-worships this much-older man and who brings him back into a passion for living by her mere presence. Their story is real and affecting as is the subplot of Schiller’s daughter whose life is passing her by much as her father’s. By the time the film ends both father and daughter have had life-altering experiences due to the catalyst created by this stranger in their midst--and both are the better for it. With Starting Out in the Evening director Andrew Wagner has fashioned a subtle quiet vision of Brian Morton’s award-winning novel of the same name. He certainly seems to understand the inherent pressure of having a youthful success in the arts. What does one do next after giving the world a masterpiece while still in an early part of one’s life? For his main character that struggle and question have become overwhelming with the result being his shutting down to any of life’s more joyous or emotional experiences. There’s a lot going on under the surface of this film a directing technique Wagner may have absorbed from his famous uncle Mark Rydell who directed On Golden Pond a picture with some similar themes. The downside to Wagner’s technique is in his pacing for there are moments where the movie moves so slowly it is hard not to be bored. But by the final frames there is an emotional resonance to the story that cannot be ignored especially if the viewer is someone who aspires to excel in any of the world’s creative disciplines. This makes Starting Out in the Evening a worthwhile experience for nascent writers artists musicians etc. And a warning as well: to pace yourself for the duration of your life rather than explode on the scene with nothing left to give once an impression has been made.