OK FILM! Bourne Supremacy anyone?

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OK FILM! Bourne Supremacy anyone?

Postby mach1 » Sun Oct 17, 2004 5:45 pm

From the Director of 'Bloody Sunday'
    Bloody Sunday is British director Paul Greengrass' dynamic recreation of January 30, 1972 in Derry, Northern Ireland, when a peaceful civil rights march ended in bloodshed; the film won numerous awards worldwide, including the Berlin Film Festival's Golden Bear and the Audience Award at the Sundance Film Festival.
These are fun film reviews to read.

Fun to read film reviwes below. With this film, they are ALL on the mark.

See also link below
    "The Cold War, per se, was not the important thing to him. It was what was happening to people, and how multinational companies and governments were beginning to manipulate and restrict people. That was what he was writing about."


http://www.cineworld.co.uk/films/bourne ... hread.html

Anyone here read the novel and seen the film? Or one or the other?

Quite a plot overhaul from Ludlums Hong Kong and China to the movie versions Germany and Russia isnt it? Just like the re-work of the last Clancy novel to hit the screen, all plot locations and actors have been changed.

The film version is ominisouly prescient it seems with its present day cloaked references to the scenarios of oil billionare machinations in Russia i.e. Yukos. Or is that Lukos?


----



Entertainment Weekly / Owen Gleiberman:

A conventionally heightened series of escapes and clashes and hide-and-seek gambits, yet the way the film has been made, nothing that happens seems inevitable -- which is to say, anything seems possible. There's a word for that sensation. It's called excitement.




90


Los Angeles Times / Manohla Dargis:
Rarely does pop come with such sizzle.





90


The New York Times / Stephen Holden:
This is high-speed action realism carried off with the dexterity of a magician pulling a hundred rabbits out of a hat in one graceful gesture. The crowning flourish is an extended car chase through the streets and tunnels of Moscow that ranks as one of the three or four most exciting demolition derbies ever filmed.





90


Salon.com / Charles Taylor:
As a piece of craft, and with the exception of "Harry Potter and the Prisoner of Azkaban," it's miles beyond any studio film this summer.





90


Slate / David Edelstein:
The sequel is simply a tour-de-force of thriller filmmaking.





90


Washington Post / Desson Thomson:
Spy movies just got thrilling again.





88


Baltimore Sun / Chris Kaltenbach:
Greengrass has a fine sense of pacing, keeping events moving. It's rarely hard to guess what's going to happen next, but events unfold with such gusto that there's barely time to notice that.





88


Charlotte Observer / Lawrence Toppman:
Trumping its predecessor with a tauter plot, a lower body count and just as many edge-of-the-seat jolts.





88


Chicago Tribune / Michael Wilmington:
Close to perfect example of an expertly designed and executed thriller.





88


Rolling Stone / Peter Travers:
If you've forgotten the kick you get from watching a globe-trotting, butt-kicking, whiplash-paced action movie done with humor, style and smarts, take a ride with The Bourne Supremacy.





88


USA Today / Claudia Puig:
Taut, tightly paced and thrilling, with some of the best chase sequences -- whether by foot, taxi or Jeep -- in recent memory.





83


Seattle Post-Intelligencer / Sean Axmaker:
Delivers the expected adrenaline-driven thrills with a fresh eye and a refreshing attitude.





80


Chicago Reader / Staff (Not credited):
The action sequences are expert studies in controlled chaos.





80


Dallas Observer / Luke Y. Thompson:
Plot matters more here than spectacle; the film's real climax involves no demolition, but rather two characters in a room quietly discussing devastating events in their past.





80


Empire / Chris Hewitt:
The Bourne Supremacy builds on and exceeds the original, delivering, quite simply, one of the finest big-budget thrillers in years.





80


The Onion (A.V. Club) / Scott Tobias:
Goes through its airport-thriller paces with dazzling kinetics and style.





75


Boston Globe / Ty Burr:
The way Greengrass lets you feel the violence is impressive. Most movie heroes punch through armies without scraping their knuckles, but Bourne's a believable wreck by midpoint.





75


Chicago Sun-Times / Roger Ebert:
That the director, Paul Greengrass, treats the material with gravity and uses good actors in well-written supporting roles elevates the movie above its genre, but not quite out of it.





75


The Globe and Mail (Toronto) / Leah McLaren:
Directed by Paul Greengrass, the unflinching eye behind "Bloody Sunday," The Bourne Supremacy not only lives up to the promises of the novel by Robert Ludlum, but in many ways manages to improve on the first film.





75


Miami Herald / Rene Rodriguez:
Achieves an assaultive intensity that adds a level of visceral excitement to car chases, mano-a-mano showdowns -- even simple conversations. It's a style that takes some getting used to -- the images flit by at near-subliminal speeds -- but proves tremendously effective.





75


New York Post / Megan Lehmann:
The strapping Damon's lived-in performance makes us happy to follow Bourne wherever he may go.





75


Portland Oregonian / Marc Mohan:
Solid summer entertainment set in a recognizably real world.





70


Film Threat / Pete Vonder Haar:
Supremacy is, minor quibbles aside, a worthy successor to “The Bourne Identity.”





70


Film Threat / Rick Kisonak:
Over all, though, the picture fires on all pistons. The globetrotting's a good time-I can't think of another spy film that's featured as delightful an assortment of seamy international undersides.





70


The New Yorker / David Denby:
Putting it mildly, this style of shallow, panting composition isn't the way I’d like movies to go, but, of its kind, The Bourne Supremacy is incredibly skilled--much more exciting than its predecessor.





70


Variety / Todd McCarthy:
The action is confusing at first and the hyperventilated editing style at times goes beyond the pale, so pic ultimately emerges as an erratic but not unworthy sequel to its gritty, genre-invigorating predecessor.





70


Wall Street Journal / Joe Morgenstern:
Supremacy certainly works on its own terms, but those terms are limiting. It's an entertainment machine about a killing machine.





67


Austin Chronicle / Kimberley Jones:
All herky-jerky camera movements and no pussyfooting around with the interior lives of these characters.





63


Philadelphia Inquirer / Carrie Rickey:
Supremacy has thrills, but without Potente's presence, it loses its soul.





63


ReelViews / James Berardinelli:
A serviceable thriller - no more, no less.





60


The Hollywood Reporter / Michael Rechtshaffen:
Like its various post-Cold War European locations, the film remains chilly and distant. Every time you feel like you're finally grabbing hold of something involving, the picture once again spins frustratingly out of reach.





60


LA Weekly / Joe Donnelly:
In Supremacy, Damon is left to play basically one droning, humorless note, which, unfortunately, he does with his eyes closed.





60


TV Guide / Maitland McDonagh:
A refreshing alternative to the hypertrophied spy thrillers in which exaggerated action sequences, over-the-top super-villainy and high-tech gadgetry trump character and plot.





60


Village Voice / Michael Atkinson:
The loss of the first film's hurtling who-am-I? story engine is keenly felt, and too much time is spent observing the characters get on and off planes, trains, and automobiles.





50


Christian Science Monitor / David Sterrit:
This time it's just chasing, fistfighting, and shooting. A disappointment from the director of "Bloody Sunday."





50


New York Daily News / Jami Bernard:
The movie is mostly a series of frenetic clashes, dubious near misses and car chases. It lacks the human interest and snowy splendor of the first movie, directed by Doug Liman.





50


Premiere / Aaron Hillis:
What’s missing here is the amnesiac hook that made "The Bourne Identity" such a sleeper hit.





50


San Francisco Chronicle / Mick LaSalle:
Almost everything that made "The Bourne Identity" refreshing -- the wit, the irony, the suspense, the novelty of its premise -- is gone in The Bourne Supremacy, and what's left is the spectacle of Matt Damon, with perfect posture and senses primed like a cat, making his way through a routine action thriller.





40


Washington Post / Stephen Hunter:
I had some trouble with the plot, but I'm not the only one -- so did the screenwriter.
mach1
Postus Allthefuckingtimeus
 
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nope

Postby Tracker » Sun Oct 17, 2004 5:52 pm

Nope, but I intend to sit and watch the whole series of them over the course of a week when I hang out with some BFC'ers!

I think there's 3 in all?
RIP EC
It's a Mirage, I'm not REALLY here!
Tracker
Tracker
 
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reply to my own post, why not?

Postby mach1 » Sun Oct 17, 2004 5:56 pm

Supremacy has thrills, but without Potente's presence, it loses its soul.


Quite correct...at that point...you really are wishing for a fairy god mother to come along.

But the state of suspended disbelief ....carrys on.
mach1
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