Armed with a licence to kill, Secret Agent James Bond sets out on his first mission as 007 and must defeat a weapons dealer in a high stakes game of poker at Casino Royale, but things are not what they seem.
James Bond descends into mystery as he tries to stop a mysterious organization from eliminating a country's most valuable resource. All the while, he still tries to seek revenge over the death of his love.
After escaping from the emotional and physical pain he previously encountered. Jason Bourne and his girlfriend Marie begin a new life as far away as possible. But when an assassination attempt on Bourne goes horribly wrong, Bourne must re-enter the life he wanted to leave behind, in order to find out the truth why they are still after him. Written by
In the house in Munich, when Jason Bourne uses the rolled newspaper as a weapon, the martial art he performs is derived from Escrima, an old Philippine martial art, also called Arnis or Kali. This fighting style mainly uses sticks to fight, and in modern times the use of everyday objects is taught, including ball pens (as seen in The Bourne Identity (2002)) and rolled up newspapers. In the film it is combined with Bruce Lee's Jeet Kune Do. See more »
When the Berlin SEK unit assaults the hotel Bourne just checked in to, some of the police officers carry Heckler & Koch G36A1 assault rifles (or, more accurately, civilian SL-8 versions of that weapon, mocked up to look like it). None of the German SEK units uses this type of weapon. It wouldn't make sense either, because it's too bulky for close quarters battle. See more »
[voiceover - memories]
This is not a drill, soldier. We clear on that? This is a live project. You are go. Training is over. Training is over.
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During the end credits the Marines are listed as Jarheads. See more »
A supremacy over the Bond franchise, increasingly. Matt Damon reprises an impressive, convincing delivery of a role well executed the first time around. Dalton's efforts come closest, alas within the insuperable cage of audience/exec. production expectation (and reasonably so, I might add).
The equal star of this picture is the efforts of the director Paul Greengrass. I stumbled on a televised doc-feature of this film a couple of hours ago (the sort of thing that becomes a DVD special feature). Greengrass pints to his work in documentary as a style and means of getting closer to the principal character as he tries to discover (i) who he is and (ii) what the ever-present forces are that cause his mental and occupational Sturm und Drang. It all works - the hand-cam and editing chucks us about and it's exciting trying, visually, to keep up with Bourne's every move. There's next to no CGI (the aforementioned documentary claimed none but I don't think that's possible these days) so the interest stays with the characters and never strays into the peripheral or wantonly spectacular.
The one downside with these production values is that one can get a bit seasick at being in the centre of a fight/chase sequence - I kept wondering why Greengrass doesn't put Bourne's heart rate up on the screen as well for good measure. Anyway, the irony is that this film is a Hollywood studio flick: two preposterously good looking spies (Karl Urban's Russian nemesis to Bourne, Kiril, being the other) engaged in a ripping thriller with a shady baddie and a handful of classy women. So bravo to Universal's production hit-squad for not interfering with the project (i.e. trying to work up non-existent sub plots or pointlessly maintain A-ish-list screen time, etc.). 8/10
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