The Bourne Supremacy
Paul Greengrass took over from Doug Liman for the second Bourne movie and famously implemented his patented blend of hand-held shaky cam footage and hyper-kinetic editing. It’s become a point of criticism these days, even self-parody. That’s especially true during the fight scenes, which cut on every single hit or kick to become a barely intelligible blur of fists, feet, and faces. At the time, however, Greengrass’ style felt raw and dynamic, with a sense of immediacy lacking in a lot of action films. Watching it now, there were moments where it was a bit headache-inducing. But I was also struck by how legible it could be (Greengrass is no hack), and how the aesthetic — which basically bombards the audience with flashes of information (e.g., a random photo, a street sign, a glimpse of someone’s face) — would almost certainly be how someone as highly trained and skilled as Jason Bourne would see the world. What’s more, it’s nice to see a movie about a government assassin who not only expresses regret for his past actions, but actually apologizes to his victims. (Though it would’ve been nice if he’d also given them the number of a good therapist.)