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.
WHAT IT’S ABOUT?
For real estate broker Peter Klaven the bride wasn’t hard to land; it’s finding a best man that’s proving the real challenge. After he gets engaged to sweet Zooey he realizes he has no close male friendships so he sets off on a series of “man dates” to rectify the situation until he finally stumbles upon Sydney Fife a care-free bachelor and Peter’s polar opposite. An immediate best-buddy connection is formed as the two bond to Rush music and engage in honest mano et mano conversation. But when the bromance gets a little too intense it causes ripples in his relationship with Zooey and threatens the wedding.
WHO’S IN IT?
With a cast who mainly cut their teeth in TV sitcoms and improv this is can’t-miss comedy providing the best role Paul Rudd has had to date. Playing Peter as the ultimate female-loving straight guy a potential bride’s dream because he likes to cuddle up on the couch and watch chick flicks like Chocolat Rudd is hilarious especially later on as he tries the male-bonding thing with Sydney -- using hip phrases and non-sequiturs he is incapable of uttering with any level of competence. There’s a grounded sweetness to Rudd in this role and he never loses sight of the character. Rudd and Jason Segel (Forgetting Sarah Marshall) are sensationally funny together -- the best movie buddy team in years. That’s largely because Segel also is down-to-earth in a role that could have soared over the top but never does. The two are always believable and that’s key to making the comedy work as well as it does. Rashida Jones is refreshingly likeable and sweetly understanding if frustrated as Peter’s fiancée. As her BFFs are: Jaime Pressly (My Name Is Earl) who is always battling with her hubby (a riotous Jon Favreau) and Sarah Burns as the awkwardly man-hungry Hailey are highly amusing. SNL’s Andy Samberg is surprisingly understated as Peter’s gay brother and there are nice moments from J.K Simmons (Juno) and Jane Curtin as their parents. And watch out for Thomas Lennon who steals his few scenes as Doug a spurned early “man date” of Peter’s. The original Incredible Hulk Lou Ferrigno also turns up as himself in a wryly amusing running gag.
This is a broad comic premise but it’s never allowed to careen out of control allowing everyone to create three-dimensional human beings despite the hijinks going on around them. The bits with Rudd and Segel jamming on Rush songs are great and so is the endless stream of corny catchphrases such as Rudd’s "we’re just chillaxin’" and Segel’s "Dude Von Dudenstein."
Considering the smart instinctual comic chops that writer/director John Hamburg (Along Came Polly) displays here he could have cut back on the raunch which gets piled on a little thick at times for the film’s own good; although compared to last week’s dreadful buddy bomb Miss March this is Disney stuff.
There are too many to name but the Chinese restaurant engagement dinner is a comic knockout particularly when it comes to Segel’s toast -- full of thinly disguised and totally inappropriate sexual innuendo.