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.
The best way to go into Pirates of the Caribbean: On Stranger Tides is to think of it as the first film in a brand new franchise; a franchise in which mermaids love men zombies won’t eat you and a Fountain of Youth exists but all laws of logic reasoning and competent storytelling don’t. Although screenwriters Ted Elliot and Terry Rossio were smart enough to sever the narrative ties to the first two sequels in their franchise’s fourth outing the latest swashbuckling adventure in the series shares most of the same faults its predecessors faced.
Director Rob Marshall (Chicago) steps in for Gore Verbinski in On Stranger Tides but you’ll be hard-pressed to find his contributions to the already-flashy film that finds our hero Capt. Jack Sparrow (the inimitable Johnny Depp) on the hunt for the fore mentioned fountain. Of course he’s not the only one looking for eternal life: also in tow are nameless stereotypical Spaniards the English crown headed by a reformed Barbossa (Geoffrey Rush) and Blackbeard a ruthless pirate who looks and sounds a lot like Ian McShane. Their paths cross on numerous occasions as the story scrambles across the map culminating in a splashy battle in a magical meadow where Ponce de Leon’s greatest discovery lies.
Less a cohesive story and more a collection of individual set pieces linked together by nonsensical dialogue and supernatural occurrences the film isn’t all that hard to follow if you don’t strain yourself doing so. The sequence of events collide so conveniently for the characters you can’t help but call the screenplay anything but the result of complacency while the film itself sails so swiftly from point to point it’s actually a waste of time to dwell on plot holes and motives. Disrupting its momentum (which is one of the few things the film has going for it) is an unwatchable romance between Sam Claflin’s missionary Philip and Syrena (Astrid Bergès-Frisbey) one of a handful of murderous mermaids who do battle with Blackbeard’s crew. Their bland courtship will have you begging for Orlando Bloom and Keira Knightley to return to the high seas and that’s saying something.
The all-female fish people are one of a few additions to the Pirates world but their effect on the film is negligible outside of being the impetus for the coolest action sequence in the picture and perhaps the most unnerving of the series. The others include Penelope Cruz as Blackbeard’s busty daughter Angelica and Stephen Graham as shipmate Scrum. The former feels out of place among the cartoony happenings but provides much needed sass while the latter fills in for Kevin McNally’s Gibbs for much of the film and is a pleasure to watch for some hammy comedic moments.
As always however this is Depp’s show and he continues to put a smile on my face with his charisma and theatrical presence. Even though he’s operating on autopilot throughout you can’t help but marvel at his energy and enthusiastic output as he literally fuels the fun in the film. The same can be said of Rush who’s given a meatier and more significant arc this time around. He trades quips with Depp as if they were a golden-age comedy duo and they remain the most appealing attraction in the franchise. Though he brings an undeniable sense of danger to the picture I was sadly underwhelmed by McShane’s Blackbeard a character with such a domineering reputation and imposing look he should’ve been stealing scenes left and right. Instead I felt he phoned his performance in though that could’ve been the result of Marshall’s indirection.
No better than the genre-bending original but a slight improvement over Dead Man’s Chest and At Worlds End On Stranger Tides suffers centrally from lack of a commanding captain. Marshall’s role is relegated to merely on-set facilitator or perhaps liaison between legions of talented craftspeople that make the movie look so good. Whatever vision he had for this venture if he had a unique take at all is chewed up and spit out by the engines of the Jerry Bruckheimer blockbuster factory rendering the film as mechanical as the ride from which it is based.
When we last saw the armed-to-the-teeth vigilante Frank Castle he was fleeing Tampa after exacting his revenge upon the money launderer responsible for murdering his son wife parents aunts and uncles third cousin twice removed … But that was the old Punisher. Meet the new Punisher. Like Incredible Hulk Punisher: War Zone reboots a franchise by assuming we know enough about the Punisher without having go into excruciating detail about why he became judge jury and executioner. Another good sign: Ray Stevenson’s Punisher is back where he belongs in a dirty grimy New York not sun-kissed Florida. And he’s got his sights set on comic-book nemesis Jigsaw the alias of mobster Billy “the Beaut” Russoti (The Wire’s Dominic West). While trying to assassinate Russoti the Punisher accidentally kills an undercover FBI agent compelling him to hang up his guns. Russoti escapes but his face is torn to shreds by glass. With his once-handsome face stitched up like a 12-piece puzzle the rechristened Jigsaw springs his brother Loony Bin Jim (Doug Hutchison) from -- of course -- a loony bin to help him punish the Punisher. So much for the Punisher locking up his war journal for good … No disrespect but Jane’s too much of a pretty boy to pass himself off as the Punisher. The big burly Ray Stevenson (HBO’s Rome) looks every bit the cold-blooded dispenser of justice fanboys know and adore. And the Northern Irish hard man possesses an intimidating physical presence something Jane inherently lacks. Jane though received significant leeway to explore the anguish resulting from the loss of Castle’s family. Stevenson wears nothing but a scowl as the taciturn and psychologically scarred human weapon which admittedly is in keeping with the comic-book character’s stony disposition. Then again the out-of-control West does enough emoting for an army of Punishers. With his exaggerated gestures dancing eyebrows and thicker-than-Italian-cheesecake Noo Yawk accent the Brit blasts through War Zone with the destructive force of a rocket-propelled grenade. This is a money gig for West and damnit if he isn’t going to have fun earning his paycheck. The Green Mile’s Hutchinson as Jigsaw’s organ-chewing sibling almost keeps pace with West. Seinfeld’s Wayne Knight does his usual shtick as weapons supplier Microchip. Colin Salmon fills space as a by-the-book lawman pursuing the Punisher. Rambo and Saw V’s Julie Benz -- who obviously can’t say to any sequel or reboot she’s offered -- is wasted as the FBI agent’s widow and the voice of Castle’s conscience. Try counting the ways the Punisher dispatches of his foes. He hangs from a spinning chandelier and sprays a roomful of mobsters with bullets blows up a man leaping between buildings punches his fist through a bad guy’s face sets another on fire and … well we could be here all day. Fair to say director Lexi Alexander’s blood lust drives her to come up with one grisly laugh-inducing death after another. With its Empire State Building-high body count Alexander’s does the impossible and out-Rambos Rambo. And quite frankly it’s everything a Punisher quest for vengeance should be. The 2004 Punisher seemed too disconnected from its source material. Why relocate from New York to Tampa? Or pit the Punisher against a villain from not from the comic book? Or have the Punisher setup Travolta for his fall when he lives by the gun? Jane’s departure paved the way for a reboot that’s closer to the spirit of the comic book and wants nothing more than to be an old-school shoot ’em up like Commando or Lethal Weapon. There isn’t a moment that goes by when you’re not howling at the disgracefully bad dialogue gasping in shock at each and every execution or wondering at just how much more dumb and fun things can get. Alexander the German director who turned sweet little Elijah Wood into a soccer thug in Green Street Hooligans isn’t trying to transcend the comic-book genre á la The Dark Knight. Instead she’s just wants to give us one hell of an adrenaline rush. “This is just the beginning ” Stevenson growls after taking care of business. Let the bodies continue to hit the floor.