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.
With its twisty-turning plot and military setting Basic could be the love child of an illicit affair between The Usual Suspects and The General's Daughter; it even borrows the star of the latter. In Basic John Travolta plays Tom Hardy a former Army Ranger and interrogator extraordinaire who's now a DEA agent in Panama suspended from duty on suspicion of bribery. He's hitting the rebellious law enforcement officer's requisite bottle of Jack Daniels heavily--until an old friend on the local army base Col. Bill Styles (Tim Daly) calls him in to investigate the disappearances and probable deaths of an elite group of trainees and their commander Sgt. Nathan West (Samuel L Jackson) during a training session in the Panamanian jungle. Staff investigator Lt. Julia Osbourne (Connie Nielsen) a plucky Southern gal who's none too pleased with Hardy's invasion of her turf is assigned to help Hardy question the unit's surviving members Kendall (Giovanni Ribisi) and Dunbar (Brian Van Holt). As their stories unfold over a series of flashbacks the interrogators discover a military underworld of drugs murder and coercion--and the mysterious existence of a rogue Ranger unit called "Section 8." Now for an interrogation of our own. Is the plot convoluted? Sir yes sir! Is it too tricky for its own good? Sir yes sir! Thank you soldier. You may stand down.
The trigger-finger pointing winking cluck-clucking "gotcha" persona Travolta (Swordfish Domestic Disturbance) creates in Hardy is as appropriate to the story as it can possibly be; the way he manipulates his subjects under interrogation is much the same way the story manipulates its audience. He leads them--and the observant Lt. Osbourne--to believe one thing then pulls the rug out from under them to prove the old cliché of military movies: that nothing is as it seems. In Nielsen's (The Hunted One Hour Photo) Osbourne we're given a character who could lead us through the jungle of the plot (she discovers the "facts" at the same time as the audience so her reaction is meant I suppose to be ours) but since Hardy spends much of his time making her look and feel like an idiot she comes off as one and frankly so do we. The talented Jackson (Changing Lanes) mostly does the bellowing drill sergeant bit while Ribisi (Heaven) as the homosexual son of a high-ranking general talks like he has cotton wool in his mouth and moves and twitches like he's mildly brain-impaired. (His character's not supposed to be; he only got shot in the leg.) One bright spot in this movie is the featured role for hunky Van Holt (Windtalkers Black Hawk Down) whose chiseled good looks and heroic demeanor make him a shoo-in should anyone ever make a live-action Johnny Bravo movie.
Director John McTiernan has given audiences some heavy-duty action in Die Hard Die Hard With a Vengeance and The Hunt for Red October but he's also the director who brought us such gems as Rollerball and Last Action Hero so it's not surprising that in Basic we get some action and intrigue paired with the out-there story stylings and narrative confusion of some of his less successful work. Here each flashback brings new information that conflicts with what we've been told before and the story never really resolves those conflicts in any satisfying way. The "big twist" at the end instead of bringing it all together creates gaping holes in the plot or at least creates so much doubt in the story we've just spent an hour and a half watching that it's easy to get fed up with trying to figure it out. Naturally no one likes to be spoon-fed plot resolutions but in order for twists to work they have to give the audience something to focus its doubt on--they can't just call the whole kit and caboodle into question. We have to be able eventually to figure it out. But hey maybe we aren't supposed to work out the details; after all this movie with its catchy one-word title and colorful cast of characters is just begging for a sequel: Basic 2: Explaining the First Movie.
Bobby Garfield (David Morse) returns to his small hometown to attend the funeral of his childhood friend and remembers the fateful summer in 1960 when his whole world changed. The story flashes back to when 11-year-old Bobby (Anton Yelchin) and his best friends Carol (Mika Boorem) and Sully-John (Will Rothhaar) capture the pure joy of youthfulness. When a mysterious stranger named Ted Brautigan (Anthony Hopkins) moves upstairs and starts to pay attention to Bobby the boy suddenly realizes what's truly missing from his life--the love of a parent. Bobby's mother Liz (Hope Davis) is embittered by the death of Bobby's father and shows little compassion for her son's growing needs. Ted fills a void with the boy opening his eyes to the world around him and helps Bobby come to terms with his real feelings for Carol--and his mother. But Ted also has some deep dark secrets of his own and Bobby tries hard to stop danger from reaching the old man.
The performances make the film especially in the genuine camaraderie of the kids. Yelchin Boorem and Rothhaar never deliver a false move with an easiness that makes us believe we are simply watching three 11-year-old children grow up together. Yelchin in particular is able to get right to the heart of this young boy who misses his father and clings to the only adult who will listen. And his scenes with Boorem simply break your heart. (Davis) does an admirable job playing a part none too sympathetic. She manages to show a woman whose been beaten down but who does truly love her son in her own way. Morse too is one of those character actors you can plug in any movie and get a performance worth noting. In Hearts you want to see more of him. Of course the film shines brightest when Hopkins is on the screen. It may not be an Oscar-caliber performance but the actor is unparalleled in bringing a character to life--showing the subtleties of an old man looking for some peace in his life.
If you are expecting the Stephen King novel you may be disappointed. Screenwriter William Goldman and director Scott Hicks (Shine) deftly extracted the King formula of telling a story through a child's eye and explaining how the relationships formed as a child shaped the adult later. Hicks did an amazing job with his young actors especially Yelchin and Boorem. But where the novel continued into a supernatural theme explaining Brautigan's fear of being captured by "low men in yellow coats" (a reference to King's The Dark Tower series) the movie downplayed the mystical elements instead giving real explanations for Brautigan's man-on-the-run. That was the one problem with Hearts--we needed more danger. Introducing men from another dimension may not have been the way to go but had there been more tension the film would have resonated more especially when Bobby risked his own safety to save Ted.