Green Zone is a story we’ve already heard shot in a manner we’ve already seen and starring Matt Damon in a role he’s already played. Remember those WMDs that were never found in Iraq and later exposed to be the invention of a dubious and poorly-vetted informant? Remember the misguided and hideously botched attempt at establishing democracy after the fall of Saddam and the violent prolonged insurgency that ensued? If you’ve been away from the television for the past hour and somehow managed to forget any of these details Green Zone is here to remind you.
Damon plays Chief Warrant Officer Roy Miller an Army weapons inspector whose frustration over repeatedly coming up empty in his search for Iraqi WMDs leads him on a quest to track down and expose the people responsible for leading him (and us) down that infamously bogus path. Though his hand-to-hand skills are a notch below Jason Bourne’s Miller’s single-mindedness moral certainty and permanent expression of square-jawed defiance — always threatening another “How do you like them apples?” rebuke — in the face of an insidious multi-level government conspiracy are essentially equivalent to those of Damon’s Bourne trilogy soulmate.
And like Bourne his most dangerous adversary isn’t found on the battlefront but rather within the government he once served so proudly. As Miller delves ever deeper into the Case of the Faulty WMD Intelligence Clark Poundstone (Greg Kinnear) the duplicitous arrogant Defense Department bureaucrat in charge of U.S. operations in Iraq summarily relieves him of his post. (Hint: the better dressed a Green Zone character is the more sinister his ambitions.) But Miller remains undeterred and he goes rogue to locate the CIA informant “Magellan ” a formerly high-ranking Iraqi official whose supposed confirmation of Saddam’s nuclear ambitions served as the basis for U.S. invasion.
We know how the story ends. Green Zone’s pervasive overarching sense of deja vu is accentuated by director — and veteran Bourne helmer — Paul Greengrass who employs the trademark hand-held super-shakycam style which was so fresh and inventive in 2004 but now feels stale and predictable. (Admittedly my aversion to Greengrass’ approach was no doubt heightened by a previous night’s viewing of Roman Polanski’s excellent The Ghost Writer a political thriller as subtle and precise and finely tuned as Green Zone is ham-fisted and haphazard — and which also uses the phantom WMD controversy to far greater narrative effect.)
Green Zone culminates in essentially a violent footrace between Miller and the Army Special Forces as they scour a heavily-armed insurgent stronghold to find Magellan with Miller hoping to secure his potentially damning testimony before the Army can silence him for good. The climactic sequence for all I could tell was either shot in Damon’s backyard culled from Bourne trilogy deleted scenes or assembled from scattered YouTube clips. This punishingly chaotic often incoherent and ultimately exhausting approach to storytelling isn’t cinema verite; it’s dementia pugilistica.
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.