In the first ten years of the 21st century, Hollywood presented "The Bourne" and Europe presented "Death Express". The two brought the realistic fighting style back to the public eye. One influenced the style of all spy movies afterwards, and the other brought out the last action king Guoda Statham. With its sharp action style and crazy lens editing, "The Bourne" almost redefines the new standard of the entire action movie-forget the Brosnan turn-based fighting scenes, now it is Jason Byrne's era.
The most shining part of "The Bourne Shadow" trilogy is probably the kind of elaborate design in one go. Car chasing, going to the house to uncover tiles, hand-to-hand combat, fierce gunfights, everything works well around a reasonable plot and rich characters. Even the dwarfed "Bourage 4", in terms of script and shooting quality, is one level higher than that of the action movies of the same period-but after all, there is a dark history. At the same time, the three-part series of "The Bourne Shadows" series has a rare professional quality that is not expensive, and it is quite rare and extremely valuable today when creativity is entering the dry season.
However, in the past few years when the bubble has been booming, we have seen too many IP resurrection. Some are extravagant, some are low-selling feelings, some are inexplicable and some are gone, only a few can be regarded as unpopular. Sora has the title of reactivate, but it is rare that there are such high-quality "Jurassic World" and "The Force Awakens", not to mention "Quadi" and "Mad Max 4". But for the magnitude of "The Bourne Shadow", if the production can be as solid as before, it is not impossible to reshape the vitality.
Indeed, "The Bourne" has influenced the style of a series of spy movies such as 007 and "Mission Impossible". But "The Bourne Fly" is not 007, and Matt Damon is not Tom Cruise. The characteristics of IP and the protagonist determine the continuity of his life. The story of "The Bourgne" is character-driven rather than event-driven, and the unique lens language and action design are just representations. What the audience cares about is how Jason Byrne solves the mystery surrounding him step by step, not just to see how a man being chased uses pots and pans to blow the killer's head.
This may be the reason for the failure of "The Bournemouth 4". And after "The Bournemouth 5" retrieved the lead actor Ma Daimeng and director Bao Cao Cao, they seemed to recognize this problem. But how to continue the story of the perfect curtain call in "The Bournemouth 3", I am afraid I still need to continue to ponder.
But in any case, "The Bournemouth 5" can be regarded as the most solid and reliable sequel of the summer of 2016.
As an action movie, "The Bournemouth 5" is very good. But as a genuine sequel to the Bourne movie, "The Bourne Shadow 5" appears to be unstable.
Good spy action movies have always had a tendency to keep up with current politics. Whether it is the Vietnam War, the Cold War or the War on Terrorism, whether it is coming forward or reflecting on interrogation, as long as it is time-sensitive, it can be considered a good way to stay grounded. However, Tony Gilroy, one of the greatest contributors to the "Bourneaux" trilogy, was out after taking over as the director of "The Bournemouth 4" and missed the script of "The Bournemouth 5", making Paul Greengrass personally In the battle, almost reproduced the dazzling skills and loss of control exposed in "Green Zone". The content of the so-called "post-Snowden era" spy warfare is so old-fashioned that it would not violate any conspiracy and cooperation incident. In order to connect this part with Jason Byrne, who has no reason to re-emerge, "The Bourne 5" can be said to have painstakingly achieved little effect, and finally fell back to the level of public revenge.
To be fair, the "post-Snowden era" is actually a false proposition at all. A good story is already "The Enemy of the Whole People", so why keep it until nearly 20 years later. No matter it's "Crystal Crisis", "Ghost Party" or "Mystery Country", none of them have gone out of the old way-the latter even played the secret rescue routine as early as 20 years ago. As for the series of hacker movies that followed suit—yes, I was talking about Michael Mann’s "Legend" work "Clash of Hackers"—it is even more unnecessary to be incomprehensible. With the development of social networks so far, let's talk about the dialectical relationship between personal privacy and freedom (and there is no time to talk about it). It is obviously unnecessary to put it in a spy movie dominated by action dramas.
"The Bournemouth 5" is caught in this kind of vicious circle that always wants to "make a big news": whenever the movie wants to emphasize the so-called "big event" that "CIA requires social media to open the back door", the whole rhythm is Began to stagnate and dull. Obviously there is a series of very exciting action designs, whether it is the opening Athens chase or the climax of the PK battle. It is a pity to give way to the Indians to talk about IT.
The performance of several leading actors in the movie also seems to reflect this confused emotion. The performance of Tommy Lee Jones-if it could be called a performance-was lifeless, and went to two extremes with Edward Norton's excessive force in "The Bournemouth 4", completely unable to match the trilogy's gram Reese Cooper and others are on par. New Oscar Best Actress Alicia Vikander still hasn't gotten rid of the image of "large vase", it seems that only low-cost literary films can inspire her.
In contrast, the "typical European villain" image of the French literary middle-aged Vincent Caso is less boring. The crisp action scenes and murderous expression are more interesting than the stereotyped Christopher Waltz.
Replaying Jason Byrne's Ma Duan Meng's mind seems to be spent on the tendon meat after the meat period. The whole movie has a surprisingly small amount of lines. It seems to be saying "Anyway, the whole character is in three parts." It’s enough for everyone to know who I am.” Not so much Jason Bourne, but Just Boring. Even Ma Duimeng himself finds it boring and boring.
In general, as a genuine sequel to "The Bournemouth", "The Bournemouth 5"'s blind pursuit of fashion makes it lose the charm and excellence of the trilogy era. But its high quality and powerful director and action design can still provide a lot of fun.
It is difficult to invigorate a spy movie. Even Paramount, who holds "Mission: Impossible", and even the king of military fiction Tom Cressy, can hardly help Chris Penn become the next "Jack Lane". And no matter how hard Universal works, Jason Byrne's narrative core is always the character itself, not an independent event. This is the key difference between "The Bourne" and other spy thrillers. However, the whole of "The Bournemouth 5" feels more popular, with more emphasis on action scenes, rather than clever stories, gradual character and plot development. This makes Jason Byrne in "The Bournemouth 5" look paler than in the trilogy era, and those who look forward to another fascinating and intelligent thriller can hardly be satisfied.
Although the formulaic plot of "The Bournemouth 5" is old-fashioned and repetitive, it is not lacking. But the biggest impact Snowden, Prism Gate and WikiLeaks have on current spy movies is that there is still no "post-Snowden era" movie that has a reasonable and unobtrusive story-"The Bourbon 5" "not excluded.
Nevertheless, as the most solid and comprehensive movie this summer (no one), we still hope to see more Jason Byrne in the foreseeable future.
Just put a Ben Affleck in it.
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