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 man-child: a staple character for modern comedy and notoriously known for being played one-note. They get the laugh they get out.
But turning the lovable goofball or zoned-out knucklehead into something more is no easy task—which makes Paul Rudd's work in Our Idiot Brother that much more impressive. Rudd's Earth-friendly farmer Ned (the closest thing to a new Lebowski we've seen since the original) finds himself down on his luck after being entrapped by a police officer looking for pot. After a stint in jail he abandons his rural hippie commune for the big city to take shelter with his three sisters. Unfortunately for Ned his three siblings Liz (Emily Mortimer) Miranda (Elizabeth Banks) and Natalie (Zooey Deschanel) are as equally displaced and confused from the ebb and flow of life—albeit with severely different perspectives of the world.
Liz struggles to put her kid in private school and keep her marriage to documentary filmmaker/scumbag Dylan (Steve Coogan) intact. Miranda claws her way to the top of Vanity Fair's editorial staff and shuns her flirtatious neighbor (Adam Scott). Natalie stresses over her commitment issues with girlfriend Cindy (Rashida Jones) leaving little time or patience for Ned's bumbling antics. Sound like a lot of plot? While the manic lives of Ned's sisters click symbolically with his journey to get back on his feet it makes for one sporadic narrative.
Like a series of vignettes Our Idiot Brother never gels but when director Jesse Peretz finds a moment of unadulterated Nedisms to throw up on screen the movie hits big. Whether it's Ned teaching his nephew how to fight accidentally romancing his sister's interview subject or infiltrating his ex-girlfriend's house to steal his dog Willie Nelson the movie relies heavily on Ned's antics and its smart to do so. But thin throughlines for its supporting don't hold a candle to Rudd doing his thing.
And its a testament to Rudd's versatility—the man has done everything from Shakespeare and raunchy Judd Apatow comedies after all—that makes the movie watchable. Rudd gives dimensionality to his nincompoop character allowing darker emotions to creep in when necessary. There's a point in the film when Ned gives up fighting for his type-A sisters' affection and it's some of the best material Rudd's ever delivered. But like one of Ned's lit joints Our Idiot Brother can quickly fizzle out leading to plodding plot twists and sentimental conclusions. Mortimer Banks and Deschanel are great actresses—here they drift through their scenes and come out in the end changed. Because they have to.
Our Idiot Brother tries to take the Apatow model to the indie scene and comes through with so-so results. Only Rudd's able to find something to latch on to to build upon to warm up to. In an unexpected twist it's the man-child who seems the most grown up.