JASON BOURNE: MATT DAMON torna a vestire i panni del suo personaggio piĂą famoso, ancora diretto da PAUL GREENGRASS ('The Bourne Supremacy', 'The Bourne Ultimatum')
RECENSIONE ITALIANA e PREVIEW in ENGLISH by PETER DEBRUGE (www.variety.com) - Dal 1Â° SETTEMBRE
(Jason Bourne; USA 2016; Thriller d'azione; 123'; Produz.: Production Companies Universal Pictures/Kennedy/The Marshall Company/Captivate Entertainment in associazione con Pearl Street Films/Double Negative/Pearl Street Films/Sur-Film; Distribuz.: Universal Pictures International Italy)
Paul Greengrass e Christopher Rouse
Soggetto: Personaggi di Robert Ludlum.
Cast: Matt Damon (Jason Bourne) Tommy Lee Jones (Direttore della CIA Robert Dewey) Alicia Vikander (Heather Lee) Vincent Cassel (Asset) Julia Stiles (Nicky Parsons) Riz Ahmed (Aaron Kalloor) Ato Essandoh (Craig Jeffers) Scott Shepherd (Direttore NI Edwin Russell) Bill Camp (Malcolm Smith) Vinzenz Kiefer (Christian Dassault) Stephen Kunken (Baumen) Ben Stylianou (Greek Van Driver) Kaya Yuzuki (Hacker) Matthew O'Neill (Capo Hub Tech) Lizzie Phillips (Cyber Hub Tech) Cast completo
Robert Stanton (Avvocato governativo) Alexander Cooper (Impiegato della CIA) (Non accreditato) Neve Gachev (Agente della CIA) (Non accreditata)
Musica: David Buckley e John Powell
Costumi: Mark Bridges
Scenografia: Paul Kirby
Fotografia: Barry Ackroyd
Montaggio: Christopher Rouse
Makeup: Karen Cohen (supervisore); Jane Fantozzi, Dorota Hines, Jen Rose e Malwina Suwinska
Casting: Daniel Hubbard e Francine Maisler
Scheda film aggiornata al:
26 Settembre 2016
Matt Damon torna a vestire i panni del suo personaggio piĂą famoso Jason Bourne. Paul Greengrass, il regista di The Bourne Supremacy e The Bourne Ultimatum, Ă¨ nuovamente al fianco di Damon nel nuovo capitolo della saga della Universal Pictures. In questo film il piĂą pericoloso ex-agente CIA Ă¨ costretto ad uscire dallâ€™ombra.
Alicia Vikander, Vincent Cassel e Tommy Lee Jones sono al fianco di Damon in Jason Bourne, e Julia Stiles torna nei panni del suo personaggio di sempre. Frank Marshall Ă¨ ancora una volta il produttore insieme a Jeffrey Weiner per Captivate Entertainment, Greengrass, Damon, Gregory Goodman e Ben Smith. Ispirato ai personaggi creati da Robert Ludlum, il film Ă¨ scritto da Greengrass e Christopher Rouse.
Jason Bourne, now remembering who he truly is, tries to uncover hidden truths about his past.
celati si riflettono su una tecnologia sempre piĂą spregiudicata sulla quale si basa lo spionaggio moderno, portato all'estremizzazione dei contenuti e dei supporti oltre che delle sue applicazioni. La post modernitĂ irrompe prepotentemente nel quotidiano attraverso spaccati di cronaca ricostruita, come le rivolte in Grecia, e dallo stesso panorama quotidiano attinge, presentando un Aaron Kalloor (Riz Ahmed) nelle vesti di una vera a propria icona odierna del web a metĂ tra Mark Zuckerberg e Steve Jobs.
L'annoso dramma dell'agente dedito alla giustizia e alla ricerca della veritĂ a costo della vita si affronta in questo quarto capitolo, per la regia di Paul Greengrass in coproduzione con Matt Damon, con uno stile frenetico che caratterizza l'intera pellicola, alternandolo ad altrettanto rapidi flashback che gettano lo spettatore da subito nella mischia e danno luogo a un incipit che di fatto sembra assumere i toni di un epilogo. Di fatto la sensazione che il
finale si avvicini si protrae per tutto il film, costellato di azione e di inseguimenti mozzafiato dal carattere spiccatamente americano con annesso sfascio di vetture accartocciate e funambolici voli sulle strade del mondo. PiĂą brutale e per nulla introspettivo rispetto ai precedenti capitoli, Jason Bourne trova la collocazione nel purissimo film di azione all'americana, molto meno elegante del James Bond, collega inglese e molto piĂą stereotipato nel descrivere i servizi segreti senza risparmiare la Cia, dipinta nei suoi accenti piĂą foschi, quasi con echi volutamente grotteschi e talvolta stereotipati come l'eroe invulnerabile che assume a tratti i panni del replicante Roy di Blade Runner. Dove l'introspezione manca pensano i fatti ad agire e a dare compimento a un'opera che consacra Matt Damon in un ruolo che piĂą di molti gli compete.
Secondo commento critico (a cura di PETER DEBRUGE, www.variety.com)
This terse sequel reunites Matt Damon and director Paul Greengrass, shedding light on an important piece of the character's backstory.
Call it a rebirth: Matt Damon is back as Jason Bourne in the franchiseâ€™s tough, â€śthis time itâ€™s personalâ€ť fifth installment, titled, simply enough, â€śJason Bourne.â€ť To the extent that the entire Bourne series hinges on the notion of an amnesiac action hero â€” one who remembers how to kill with his bare hands but draws blanks on key details about his past â€” this explosive reunion between Damon and director Paul Greengrass further reveals key secrets about Bourneâ€™s origins, bringing its lethal protagonist as close as heâ€™s ever likely to get to total recall.
Mostly, the project marks a return to what worked about the franchise â€” namely, Damon â€” suggesting the relief of watching Sean Connery step back into Bondâ€™s shoes after producers tried to replace him with
a suave male model in â€śOn Her Majestyâ€™s Secret Service.â€ť Meanwhile, audiences are expected to forget both â€śThe Bourne Legacy,â€ť 2012â€™s disappointing attempt to carry on the name by casting Jeremy Renner in a superficially similar capacity, and â€śGreen Zone,â€ť the gritty (and virtually unseen) Iraq War thriller in which Damon and Greengrass tried to get serious. Now, the real Bourne has resurfaced, and both director and star are committed to making the most of it, holding us in their thrall until the Las Vegas-set finale, when this hyper-paranoid conspiracy thriller tilts into something bordering on silliness.
So, what has Bourne been doing all this time? Turns out heâ€™s been squandering his super-soldier training on grungy underground prizefights when Nicky Parsons (Julia Stiles) shows up with a fresh reason for him to reengage with his past. The game has changed in the decade-plus since Bourne went off the grid: Technology trumps
things that go boom, and shadow operatives kill with keystrokes rather than old-school tactical strikes. In this new arena, the most dangerous players arenâ€™t foreign powers, or even terrorists, but hackers and information jockeys, Ă la Edward Snowden and Julian Assange.
Parsons has fallen in with a WikiLeaks-like crusader named Christian Dassault (Vinzenz Kiefer), determined to reveal the CIAâ€™s shady dealings, which point to a plan to force its way into a Facebook-like social network called Deep Dream. Sneaking past the agencyâ€™s firewall from a warehouse in Reykjavik, Parsons manages to steal classified files with fresh information on Treadstone, the black-ops program for which Bourne was recruited, and its successor, code-named Iron Hand â€” information that appears to implicate Bourneâ€™s own father (Gregg Henry) in some capacity.
But Parsonsâ€™ hack doesnâ€™t go undetected, catching the attention of Heather Lee (Alicia Vikander), who stands in the middle of what looks like Mission Control
for one of the Apollo landings â€” an elaborate CIA data-crunching center, where techies sit at computer consoles, presumably aggregating private information on American citizens. If the expressionless Vikander is meant to represent a newer, smarter CIA, then new addition Tommy Lee Jones, who plays agency director Robert Dewey, suggests the battle-worn and borderline-haggard version of his former Man in Black. He has dark pouches under his eyes and walks with a limp, and his good-olâ€™-boy drawl belies the fact that the man at the helm during an age of cyber-warfare most likely still has an AOL account.
And so Dewey delegates the high-tech duties to Lee, while depending on a contract killer known as â€śthe Assetâ€ť (Vincent Cassel) to deal with the real problem: silencing Bourne. The sort of sociopath who never met anyone he didnâ€™t finish by shooting directly in the forehead, Casselâ€™s character is just plain ruthless â€”
and clearly a better match for Bourneâ€™s skill set â€” which makes for violent efficiency as the two characters alternately stalk one another. Bourne wants to get to the bottom of the secrets involving his dad, and for that heâ€™ll need to confront Dewey. Dealing with the Asset is sort of a bonus, yielding a reckless car chase that feels particularly insensitive in the wake of this monthâ€™s terror atrocity in Nice.
The conventional wisdom on the Bourne series has been that the Doug Liman-directed original, 2002â€™s â€śThe Bourne Identity,â€ť made for a sleek 21st-century spy movie, but that the series didnâ€™t really kick in until Greengrass came along and shook things up with his two sequels, â€śThe Bourne Supremacyâ€ť and â€śThe Bourne Ultimatum.â€ť Revisit all three today, however, and itâ€™s the first installment that holds up best, setting the tone for all that follows: While Greengrass was rightly praised for
Still, thereâ€™s no question that Greengrass took those innovations and ran with them, and his typically jittery style has had such an influence on the genre that â€śJason Bourneâ€ť feels like less of a sensory assault without sacrificing an ounce of excitement. Frustrated that earlier Bourne movies started shooting before the script was finished, Greengrass co-wrote the new film himself, partnering with longtime editor Christopher Rouse to deliver the seriesâ€™ most globe-trotting installment. The action skips from Iceland to Berlin to London to Washington, D.C., taking a stunning detour through a
massive, impressively staged protest in Greece.
In many ways, â€śJason Bourneâ€ť is the most unsettling movie in the series, seeing as it points to a vast conspiracy directed at the American people, and Greengrassâ€™ style â€” rendered visceral via the marriage of Barry Ackroydâ€™s on-the-fly lensing, a tense techno score, and Rouseâ€™s cutting-room trickery â€” lends itself nicely to an era in which shadow forces rely on such tools as satellite surveillance and facial-recognition software. In one scene reminiscent of Alex Gibneyâ€™s recent â€śZero Daysâ€ť documentary, Vikanderâ€™s Lee hacks the Reykjavik power grid. In another, she wipes a laptop by tapping into the nearest cell phone.
Itâ€™s odd then that the instant the movie hits the Exocon convention in Vegas, where the potential for high-tech malfeasance ought to hit an all-time high, the filmâ€™s energy flags. Greengrass serves up long sequences of characters opening and closing doors, walking down corridors, trading text
messages, and so on â€” all actions of a sort, but not the kind that make for a lively action movie â€” until the shooting starts. Just as the initial Damon-driven trilogy wrapped up Bourneâ€™s business but left us wanting more, this sequel offers closure even as it entices us with the possibility of his return.
Perle di sceneggiatura
Nota: Si ringraziano Universal Pictures International Italy e Xister Pressplay.