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In the first one, he and a reporter for The Guardian, Simon Ross (Paddy Considine), are trapped by enemy operatives in London's Waterloo Station. Tension is enhanced in both because not only is Bourne trying to outthink and outflank the bad guys, but he's also responsible for protecting someone else. Still, it's hard to deny that Greengrass' approach generates intensity. Things aren't as bad here as in 28 Weeks Later, but there are brief instances when the inability to figure out what's going on diminishes the effectiveness of the action.
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Even during static shots (such as a simple conversation with close-ups), it's as if the cameraman has Parkinson's. Greengrass, on the other hand, prefers fast cuts and an unsteady camera. Looking back on The Bourne Identity, it's easy to be impressed by the clarity with which Doug Liman directed the action sequences. One could argue it's a little exhausting, but the action is consistently excellent - if only the same thing could be same could be said of the manner in which Greengrass has chosen to film it. Bourne is always on the move, sometimes acting as the hunter and sometimes being the quarry (and often both at the same time). The Bourne Ultimatum globe hops with the best of its genre: Moscow, Paris, London, Madrid, Tangier, New York. Also conspiring against him is the agency's director, Ezra Kramer (Scott Glenn), but Bourne has allies as well: agents Pamela Landy (Joan Allen) and Nicky Parsons (Julia Stiles) endanger their careers and lives to help him.
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So the department's black ops division, led by Noah Vosen (David Strathairn), targets him for elimination. Jason Bourne (Matt Damon), as part of his ongoing quest to discover his true identity, once again becomes a danger to the CIA. Although the plot may at first seem convoluted, it's actually fairly straightforward. The film moves so fast there's almost no time to breathe.
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(Shades of how the James Bond movie producers approached many of Ian Fleming's books.) Ludlum's version of The Bourne Ultimatum is completely different from the one penned by Tony Gilroy and directed by Paul Greengrass. As with The Bourne Supremacy, this movie diverts so far from its "source material" that the only things retained from Ludlum's novel are the title and some of the character names.
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The action is this movie is top-notch (despite the spastic camera) - full of suspense and kinetic energy - but the film doesn't have as much heart or emotional depth as The Bourne Identity. The Bourne Ultimatum, the third in the movie trilogy loosely based on Robert Ludlum's novels, is superior to its immediate predecessor but not quite as good as the original. If nothing else, The Bourne Ultimatum represents the best of 2007's inordinately high number of so-called "threequels." Hopefully, that's not damning with faint praise.