Matt Damon returns to the franchise for which he is most famous, embodying the lethal super-agent without much of a memory, in Jason Bourne.  In some ways this movie can function as an introduction to the series, as it returns to Bourne’s recruitment into the CIA, fleshes out his history (and memory) and is cathartic to his character.  And in other ways it is the same old stylized stuff, as Bourne manages to outflank everyone trying to catch or kill him and turn the tables against them.

Paul Greengrass’ film contains more handheld shots of people walking, opening doors, looking behind them, getting into and out of cars, ducking into crowds, walking some more, turning corners, checking for tails, etc. than any film I can remember.  Fully half an hour must be spent on kinetic movement of the characters without any actual conflict.  In Bourne’s universe he must keep moving, like a shark, to stay alive.  Truthfully, it became tiresome.

The story is one of retrieval; Bourne wants to know how and why he was truly recruited, not believing that his father was involved.  And the CIA boss (Tommy Lee Jones) wants him permanently silenced before he can spoil the newest operation, which involves being able to spy on everyone all the time (sound familiar?).  All this is effectively told before the film reaches its penultimate action sequence in Las Vegas, which tries to top the classic car chase sequences of William Friedkin (The French Connection, To Live and Die in L.A.).

Fans of this stuff should like Jason Bourne because it is a well-produced film.  I didn’t dislike it, but I found its relentless cynicism too much to appreciate.  I especially hated that “the asset” eliminates several CIA agents for no good reason; I simply do not, or cannot, believe that an agent or agency would operate in such a manner.  Movies like this trivialize death, and that irritates me to no end.  My hope is that Mr. Bourne finally gets a real retirement, and learns to enjoy it.  ☆ ☆ 1/2.  14 September 2016.