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.
Capt. Gerd Wiesler (Ulrich Muhe) is the German Democratic Republic's ultimate company man. So good at conducting interrogations and spotting liars he teaches new State Security ("Stasi") recruits how to do both and dedicates his life to watching and exposing "comrades" who aren't quite as loyal as they should be. But when he starts conducting surveillance on dashing playwright Georg Dreyman (Sebastian Koch) and his actress girlfriend Christa-Marie Sieland (Martina Gedeck) Wiesler finds himself getting caught up in their real-life drama--particularly after he discovers the true reason Dreyman has come under suspicion. As the stakes rise Wiesler's dedication to the Socialist Unity Party battles his growing sense of what honor truly is. The Lives of Others is full of strong performances with Muhe's at the top of the list. Resembling a German Kevin Spacey he conveys most of Wiesler's changing outlook through his large expressive eyes. As Wiesler's exposure to the color and passion of Georg and Christa-Marie's life underlines the stark emptiness of his own Muhe signals through slight changes in his character's rigid discipline much more is going on beneath the surface. Koch and Gedeck are also excellent. Georg and Christa-Marie's need for self-expression is constantly stifled by the pressure to be good party members and both actors--particularly Gedeck--make it clear what the personal cost of that conflict can be. In the supporting cast Ulrich Tukur does a nice job as Wiesler's secret police colleague/supervisor Lt. Col. Anton Grubitz turning what could have been a one-note performance into a role with unexpected nuances. Director Florian Henckel von Donnersmarck--who grew up in West Germany but visited the East as a child with his parents--has said that he spent four years researching The Lives of Others and it shows. The stark impersonal nature of much of the socialists' daily lives has the stamp of authenticity as does the film's mood of constant fear and suspicion. By contrasting scenes set in Georg and Christa-Marie's eclectic lived-in apartment--a haven from the world of informants and efficiency--with shots of a solitary Wiesler eavesdropping via headphone von Donnersmarck shows how even a tenuous connection to the world of passion and art can transform a life. In the end it is the characters' most human instincts--be they good or bad--that determine their fate not the party's rules and regulations.