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The Bourne Legacy (2012)

I have never been so bored out of my skull in a theatre as I was watching this movie.  I’ve never walked out on a theatrical screening, but this tempted me to.  Not because it’s some atrocious motion picture, but just by how boring it is.  If I was watching this anywhere other than in a theatre, I would’ve stopped watching within the first half hour.  I have thoroughly enjoyed all three previous entries in the Jason Bourne franchise, and while on paper this might seem to have a lot of potential to be a decent Bourne-less sequel, it entirely fails.  There are so many factors that feed into the dull, lifeless quality of this film.  Not the least of which are a flatly conceived new lead character and a mess of exposition trying to impart three movies of back story which ultimately have no consequence on this story.  There is nothing exceptional or engaging in the least about The Bourne Legacy.  Why must my summer movie experience be filled with so much disappointment?  Oh well, here we go, again.

In the wake of Jason Bourne’s dismemberment of Operation Blackbriar, the CIA discretely enlists the expertise of retired USAF Colonel Eric Byer (Edward Norton) to investigate and purge all incriminating evidence between the agency and Blackbriar.  The CIA then decides to dispose of their other black ops programs, which includes the termination of their field agents.  However, Aaron Cross (Jeremy Renner), an agent from Operation Outcome, escapes from being executed in the Alaskan wilderness and, with the help of Outcome scientist Dr. Marta Shearing (Rachel Weisz), sets out to find a permanent solution to the Outcome physiological enhancement medication he has become dependent upon while fighting to survive those who would try to terminate him.

This is a very peculiar film.  One would think that this would be a sort of fresh new beginning for the franchise without the Bourne character, but it’s weighed down to suffocating depths with back story which could easily have been excised for a far leaner and more streamlined story.  If you haven’t seen the previous three films, you’re going to be so lost and clueless about what’s going on as characters bombard the audience with events that overlap with and fallout from The Bourne Ultimatum.  However, after a while, the film ultimately has nothing to do with anything that happened in the previous three movies.  Having seen The Bourne Identity, Supremacy, & Ultimatum multiple times, I was still lost within this maze of excessive and pointless exposition.  There is such a massive volume of explanations of things that just don’t amount to anything.  It’s not confusing, per se, but the prolonged complex dialogue scenes eventually blur into mind numbing ramblings very quickly.  For example, Edward Norton’s character is meeting with so many people early on giving them a breakdown of what the ramifications are of everything that’s happening, but it’s so painfully convoluted and overbloated that the point of it all gets lost in the mix.  I’m sure a far more focused and sharp screenwriter could’ve condensed fifteen minutes of exposition amongst numerous one-off characters into a straight-to-the-point two minute conversation.  The film also gets so wrapped up in its own severe grounded realism that it forgets to clearly or efficiently relate information to an audience.  Nothing is explained in laymen’s terms.  Dr. Shearing fully explains what these chemicals do to Aaron’s physiology, but it’s explained in such pure clinical science terms that I would doubt that Cross himself would understand much of what she’s saying, let alone a general audience.

Some scenes are so drawn out to the point where they are counteractive to their own point.  For a spoiler example, a team of undercover operatives try to off Marta by staging her suicide.  They go under the guise of investigators or psychiatric counselors, and that psychiatric conversation is dragged on and on for several long, pointless minutes before they actually get around to attempting to stage the suicide.  The act is only broken up when Aaron Cross shows up out of nowhere at her home, to which it’s never explained how he knows where she lives.  It’s a terrible plot contrivance and a hole in logic that the filmmakers just expect us to not question.  For all the mind numbing time they spend explaining everything else in this film, you’d think they could take half a minute to explain that.

This film has several great and highly capable acting talents in Jeremy Renner, Edward Norton, Rachel Weisz, and Stacy Keach, but there is just nothing here for any of them to work with.  There are barely any proper introductions for any of these characters for an audience to even learn many of their names.  If the film can’t clearly convey that simple aspect of the characters, it’s no surprise that the film never develops any substance into these characters.  I barely knew anything more about these people at the end of the film than I did at the start.  There is no depth and barely any diversity of emotion shown to build up an empathy with anyone.  Every actor does as good of a job as they could do with what they were given, but this is such a lifeless, soulless movie with purely one dimensional characters.  I was indifferent towards every single character, and that partially contributes to a lack of tension or suspense in the film.  What also adds to that is the fact that Aaron Cross never sustains so much as a scratch jumping off cliffs and rooftops, fighting wolves with his bare hands, dodging gunfire, beating people up, and running for his life.  Every adversary seems all too easy for him to take down, and thus, there’s no one that poses a real threat to him in any of the extremely few action scenes this film has.

The action sequences are very few and very far between.  Where my review of the Total Recall remake suggested there was probably too much action and not enough character development in that film, The Bourne Legacy has an extreme lack of action in addition to an extreme lack of character development.  The action sequences probably add up to ten, maybe fifteen minutes of the more than two hour long runtime.  Ultimately, these are all terribly forgettable and tired action sequences.  There’s nothing fresh or particularly exciting about them.  Director Tony Gilroy had said that the film would not employ the use of Paul Greengrass’ notorious shaky-cam, quick cut action style.  Well, he lied.  While it’s not consistently as bad as what Greengrass does, it does eventually get to being that bad in the lackluster climax of the movie.  As with the previous three movies, Legacy gives us another motor vehicle chase sequence.  This time, it’s mostly on motorbikes, but like how some dialogue scenes drag on and on without a point, so does this climax.  It seriously goes on for the better part of ten minutes where there’s barely anything at stake in it.  The villain that’s chasing them is just some random hired gun who has no investment in the plot.  The exposition about who he was got so jumbled up in all the other procedural dialogue that I never understood exactly who he was.  I just kept waiting for this chase sequence to finally end, but it just kept picking itself back up off the pavement for more.  And this ending has no pay-off.  With no emotional depth to the story, there’s ultimately nothing anyone is actually fighting for, and thus, nothing to triumph over.  There are no passionate principles or struggle for a new self-identity for Aaron Cross to dedicate himself to.  There is no change to who he is at any point during the movie, and we barely know anything about him.

There is some back story given about Aaron Cross, but none of it mattered to me.  His story isn’t tragic, it’s not conflicted, and it certainly has nothing sympathetic about it.  The film takes well over an hour to actually tell us why he keeps jonesing for these meds, the same amount of time it takes for an actual semblance of a plot to develop, and the reason isn’t convincing.  One of the pills he takes enhances intelligence and brain function, and his recruitment officer had to falsify his IQ by 12 points so he could qualify for service.  He goes off the meds, he becomes dumb, again.  So, his whole motivation in the film is to obtain more medication so he doesn’t lose his fabricated intelligence.  That just doesn’t sell as a credible, relatable motivation.  It lacks any self-less quality or humanity for an audience to connect with.  I also find it peculiar that he has been physically enhanced to be stronger, faster, and more resistant to pain.  However, Jason Bourne had none of those drug induced enhancements, and was still able to do every impressive physical feat that Aaron Cross could do in this movie and more.  Not to mention, he could still do many of them while injured and beaten up.

As Jeremy Renner has demonstrated with both Mission: Impossible – Ghost Protocol and The Avengers, he can capably handle a role of this nature.  He can give us a strong action oriented performance fueled by a relatable and charismatic character.  However, that character is not Aaron Cross.  He’s a guy fighting only for himself, and is only aided by Marta because she’s being hunted by these same people.  After he initially saves her, he doesn’t start inquiring about her well being after nearly being killed.  He straight up, aggressively asks if she has any of the medication on hand so he can get his fix.  Cross has no charm, no heart, no depth.  I don’t know if there was an intention to spark a romantic connection between Aaron and Marta, but Renner and Weisz certainly have no spark.  I surely wouldn’t want Aaron Cross to be a carbon copy of Jason Bourne, but it’s hard to replace such a powerfully dimensional character in Bourne.  Jeremy Renner handles all the physical demands of the role very convincingly, but the character just has nothing interesting to offer.  It’s certainly not Renner’s fault that the script was so overbloated and shallow.  The dialogue and story give him no room to breathe life into the role, to give it charisma, levy, or emotional depth.

The one word I keep going back to in my mind to describe this movie is “pointless.”  The story it tells has no point, the characters have nothing purposeful to say, and the action serves little purpose to exist.  This is a film that doesn’t showcase any potential at all to be good.  It’s not a steaming pile of garbage, but it just lacks passion and motivation.  The script seems like something that should’ve gone through a few more drafts to chop out all that tiresome, go-nowhere dialogue, and build some strong characters and a thrilling story.  Doug Limon directed The Bourne Identity, and had a great sense of gritty, coherent action and a vibrant, character driven story.  Despite the cinematography drawbacks of Paul Greengrass’ style, he is an amazing director who can craft a powerful, deeply emotional story with some hard hitting drama and action.  Tony Gilroy falters greatly with The Bourne Legacy.  He can write and direct some great stuff.  Michael Clayton was an excellent dramatic film that he wrote and directed amazingly well, and has been a co-writer on every film in this franchise.  So, I don’t know what happened here.  Beyond just how he made such a terribly boring, lifeless, hollow movie, I don’t know how Universal Pictures backed this script.  Usually franchise cash grabs are train wrecks or just reek of second rate indulgence.  This is just not trying at all, and that just hurts.  I wish there was more to analyze about this movie to deconstruct it further, but there really isn’t.  It has no substance or ambition to be anything worthwhile.  I found nothing interesting, exciting, or redeeming in the fabric of this film.  Again, it’s not a horrendous film that will make you curse its existence, but it simply had no reason to exist.  I do not recommend seeing The Bourne Legacy.  I found it to be a waste of time.  You’ll be far more pleased re-watching The Bourne Identity, The Bourne Supremacy, or The Bourne Ultimatum instead.


Constantine (2005)

I very much love this film, and count it as an all time favorite.  I saw it twice in the theatre in 2005 because I was very much enthralled by the concept of the film and the excellent execution of all its characters and ideas.  It has since remained a strong favorite of the genre for me, and has driven my fandom of John Constantine further.  I was not knowledgeable about him before seeing this adaptation, but in the years since then, I have become a fan.  In the Hellblazer comics from DC / Vertigo, he was a blonde Englishman created by the widely revered Alan Moore and visually based off of Sting, the front man for The Police.  Obviously, that does not fit the description of Keanu Reeves, who portrays the title character as a dark haired American in Los Angeles, and there are numerous other changes here that deviate from the source material.  That inevitably irritated numerous hardcore Hellblazer fans, but since this was my introduction to him, I can allow both versions to co-exist in my fandom.   There are many reasons why I highly love this film including its gorgeous visual style, the world it showcases, and the potential of the characters.

It is said that whoever possesses the Spear of Destiny holds the fate of the world in their hands, and the Spear of Destiny has just been found and put into the hands of evil influences.  In Los Angeles, exorcist and occult detective John Constantine (Keanu Reeves) begins to see foreboding signs of something big and unfriendly coming with demons forcing their way into our world, but at the same time, the anti-social chain smoker is diagnosed with lung cancer.  It’s not so much the diagnosis that troubles him as the knowledge of where he’s going.  John was born with a gift he didn’t want, the ability to clearly recognize the half-breed angels and demons that walk the earth in human skin, and Constantine was driven to take his own life to escape the tormenting clarity of his vision, but he failed.  Now, marked as an attempted suicide with a temporary lease on life, the bitter hard-drinking, hard-living Constantine seeks a reprieve from his Hellbound fate.  He patrols the earthly border between heaven and hell, hoping in vain to earn his way to salvation by sending the devil’s foot soldiers back to the depths.  Unfortunately, he gains no absolution from the half-breed angel Gabriel (Tilda Swinton), and no consolation from strenuous allies such as the ominous former witch doctor Papa Midnite (Djimon Hounsou).  They all adhere to “The Balance” which keeps half-breeds from directly interfering in human affairs in order to settle a wager between God and the Devil for the souls of all mankind.  When desperate but skeptical LAPD Detective Angela Dodson (Rachel Weisz) enlists his help in solving the mysterious death of her beloved psychic twin sister, their investigation pushes them deep into a subversive plot to use the Spear of Destiny to bring forth an evil that threatens to destroy humanity.  Caught in a catastrophic series of otherworldly events, the two become inextricably involved, and seek to find their own peace at whatever cost.

Director Francis Lawrence came from a music video background, and that can be hit or miss when moving to feature films.  However, Lawrence’s background was clearly a benefit as he injects a very powerful and epic visual style into this film.  Director of Photography Philippe Rousselot realizes that immersive vision brilliantly.  His composition is rock solid creating very engaging visuals that pull an audience into the story and characters.  There is depth to spare in his frames, and plenty of grace and integrity in how he shoots everything.  There’s never any handheld camera work.  It’s all fluid movement that contributes to the overall enveloping otherworldly tone of the picture.  The use of color temperatures is very key to the atmosphere as it accentuates the dramatic tones throughout with a vibrant palette.  This is a gracefully shot film with great attention to creating a unique atmosphere and tone in its visuals.

The overall quality of the visual effects are stunning.  They are exceptionally consistent and of an amazing high quality.  From subtle effects like the fiery glint in the eyes of demons to the enveloping landscape of the Hell version of Los Angeles, they create a complete, rich, textured, and full world for John Constantine to exist within that is truly convincing.  The fearsome demonic creatures seen throughout are designed with consistency and originality.  This feels like a world with its own weathered history, and attention is paid to every detail to present it as such.  The entire “into the light” effect in the climax is awesome as the shadows are literally pulled away to force the evil presence into view.  There is never just one effect used over and over again as a crutch.  The film is full of vibrant effects that give the film its fantastical flare.  Overall, every effect is just executed and presented with amazing artistry complementing Francis Lawrence’s vision beautifully.

I also very highly enjoy the score to Constantine.  It has a great atmospheric, haunting electronic style that further fleshes out the otherworldly quality of the film, but still incorporates plenty of traditional score elements that punctuate the rousing, dramatic sequences as well as the softer, more intimate emotions of the film.  Composers Klaus Badelt & Brian Tyler put together one hell of a unique musical accomplishment with this.  I’ve never heard a score quite like this before, and it works so amazingly well.  There is a great use of melody all throughout which enhances the emotional depth that this film is truly rich with.  This is definitely a film that takes a different approach to things to give an audience a very distinctive identity for an all encompassing experience.  The addition of the song “Passive” from A Perfect Circle is wicked cool in my opinion.  It truly set a great tone entering into Papa Midnite’s club.

These enveloping elements wrap together to create a very rich story with a tone full of integrity and gravity.  It can be a very haunting and scary film that uses horror elements at times, but is best categorized as a supernatural dark fantasy action film.  The action in the film are not big set pieces with spectacular stunts.  John’s not some bad ass action hero who can slug it out with a demon.  Instead, he uses his occult and demonic knowledge as well as his skills as a con artist to help him win battles.  He fights smart using the tools he has acquired which exploit the weaknesses of his enemies such as holy water, Moses’ shroud, a pair of Holy Cross brass knuckles, dragon’s breath, and various eclectic items provided to him by his allies.

This story is partially inspired by the Dangerous Habits comics storyline, which I have read.  There’s little directly adapted from that story, and is more just taking the premise of Constantine being diagnosed with lung cancer and having to cope with that.  How he deals with it and the resolutions of the comic and the film are very different, but both greatly show off John’s cunning skill as a con artist to varying degrees.

Constantine himself is very fascinating, and I think this version of him is well portrayed by Keanu Reeves.  I am quite a big fan of his work ranking Point Break as one of my absolute favorite films ever.  I find his work quite enjoyable, and he has some highly impressive acting ability.  I think his approach tends to be more subtle, and with Constantine, he really drives home a very diverse character.  Reeves showcases Constantine’s jaded personality with depth and purpose.  He brings out that worn down, weathered texture that makes the character so intriguing and surprising.  He can be an outright asshole because he’s been both plagued by the knowledge he has about the world around him, and that he’s destined to spend eternity in Hell, regardless of what he does.  He’s tired and frustrated by these rules that these so-called “higher beings” have imposed upon humanity for their own sport, and he knows there’s little he can do to combat that.  Keanu gives the character enough edge while still maintaining an underlying sense of humanity which evolves through the film.  As the story goes along, he becomes more and more invested in Angela as a person instead of just her being a cog in a larger plot.  You gradually see the bond form between the characters, and how that starts to drive John’s actions.  There’s a pivotal shift in there where he stops sulking in his own pain and starts seeing Angela’s.  He sees her regret and how far she’s willing to go to mend it.  John can still be an asshole, but ultimately, it’s just to those that deserve it.  Reeves portrays these subtle and strong emotional beats powerfully showing that there’s more to Constantine beyond that spiteful, embittered exterior.

Another subtle part of John that’s retained from the comics is how his friends constantly pay the price for his battles.  In the comics, John is haunted by the ghosts of his dead friends, and the screenwriters slipped a brief line in here about John not needing another ghost following him around.  So, it’s no wonder that he’s as cynical and jaded as he is, but it’s also these circumstances which drive him to fight.  He challenges everyone on their egotistical or hypocritical behavior, and allows no one to slide.

However, the arc for the character takes him from being a self-serving person who fights evil for his own sake to someone that does the right thing for the sake of others.  It takes nothing away from the hardened core of the character, it just makes him an actual hero by the end.  That is helped immensely by Rachel Weisz’s emotionally impactful performance.  Reeves and Weisz had previously worked together on the 1996 film Chain Reaction as love interests, and perhaps that added a stronger chemistry between them.  In this film, their chemistry is exceptionally solid and tight.  They have great back-and-forth dialogue with sharp timing and rich character dynamics.  Angela is also easily able to stand up to John’s abrasive attitude which is a welcomed quality.  Weisz strongly portrays the more emotionally and psychologically vulnerable counter-balance of the story.  This allows an audience to have a relatable conduit into the character of John Constantine and his supernatural world.  Rachel Weisz is an incredible actress showcasing a wide range of abilities here.  She is remarkably powerful bringing out the emotional pain that Angela has deep within.  However, while Angela is vulnerable, she is a police detective, and thus, Weisz never makes her appear helpless or incapable of defending herself.  She has a definite strong will and confidence about her mixed in with a grounded, engaging charm.  It’s simply that the character been impacted by tragic events, and is thrust into a potentially frightening scenario which brings out those fearful or unstable elements in her.  Weisz handles it all with dramatic weight and grace.

It is also immensely impressive how strong the supporting cast is in Constantine.  Djimon Hounsou has such an awesome presence as the witch doctor turned night club owner Papa Midnite.  His deep voice and subtle charisma give weight and gravity to his performance.  He can be greatly imposing and intimidating without even standing up in his initial scene.  Hounsou and Reeves spark a fascinating chemistry.  They play the characters with a sense of shared history which has its turbulent areas which causes friction and some antagonism between them.  The screenwriters had a good philosophy of the best way to convey exposition about a character is to show them working.  You get to know more about Midnite and Constantine through what they do and how they go about doing it than can really be conveyed through straight dialogue interactions.  This is showcased beautifully in the sequence with “The Chair” which allows John to see the path the Spear of Destiny has taken recently, and to find out where Angela has been taken.  It’s a manner of operating alluding to information that is necessary for them to know to do what they need to do, but is not necessary to be spelled out for the audience.  This further reflects the sense that this a world with a long, textured history between characters, and it is presented in a very smart way that never bogs down the film with extraneous exposition.  Midnite himself has a very pleasing arc in the story that ultimately shows Hounsou’s range and charm.  He makes the character very fascinating, imposing, but ultimately, highly pleasing.

Tilda Swinton is immaculately graceful and elegant as the half-breed angel Gabriel.  The filmmakers chose to go with an androgynous quality for the character, and absolutely wanted Swinton for the role.  They chose incredibly well.  Her performance has a gentle compassion that eventually turns into a subtle megalomaniacal mindset.  She also has an ethereal aura and presence about her that is pitch perfect.  It’s a nice dynamic when Constantine goes to see her with him ranting and calling out the hypocrisy at hand, but she offers up a very warm, motherly tone with him.  They are both trying to make each other see things from their perspective, and neither is entirely in the right.  There is a very aristocratic, snobbish mentality from Gabriel that John can’t stomach, and it works so exceptionally well for this character.  It’s such a remarkable performance that the words to describe it in depth escape me.

Now, this film was before Shia LeBouf started grating on peoples’ nerves, but here, there’s enough heart and charm with him as Chas to make his performance a pleasure.  Chas is spirited and driven to be given the chance to be of real assistance to Constantine instead of just his personal cab driver, but John just knows the danger of allowing him to do so.  Yet, Chas is eventually given the chance to show his worth.  As with everyone else, the chemistry is dead on the mark perfect.  Gavin Rossdale’s turn as the demon Balthazar is oozing with charisma.  He relishes being engulfed in evil, and that delicious smarmy arrogance just pours out over the screen.  The tension and spite between him and John is thick as can be.  You can’t help but love and hate him all at the same time.  All of the actors throughout the film really inhabited their characters with exceptional commitment and nuance, and came together as a cohesive whole to deliver something diverse and marvelous.

Of course, there is Peter Stormare’s magnificent performance as Lucifer himself.  There have been so many portrayals of the Devil over the years in cinema from some massively talented actors, and each portrayal has been unique.  Stormare takes unique to a whole new level here.  The physicality alone is unsettling as if he’s trying to uncomfortably fit back into a human form like it’s an old out of shape body suit, and it results in some peculiar and tense nervous energy.  The look is striking enough without devolving into shock.  The shaved eyebrows and shorn haircut along with the tattoos really present a standout visual that separates Lucifer from everyone else in the film.  Stormare takes all of this to forge a weirdly eccentric Devil that doesn’t need to flaunt an ego or boast of his power.  His creepy, chilling presence sells everything.  The addition of the pure white suit and bare feet was a nice touch, and it really fits the visual aesthetics of the film.

While I have nothing against a well done origin, it is very commendable that this is not an origin story spending a large percentage of the film showing how Constantine became the man he is today.  His back story is not even revealed until well into the second act as we get to know it alongside Angela, and allusions to other shared histories are sprinkled throughout.  The film treats its audience as intelligent by not having to explain every little thing.  It presents a world, gradually lays out the general parameters of how it works, and then, allows it to envelop the audience.  I like this approach for the character because there is a lot of John Constantine history that is very relevant to the character, but it would be nigh impossible to hit all the poignant marks to develop him fully in a two hour film.  Starting a film series here is very interesting because it takes John from the jaded, weathered depths to someone more purposeful and formidable.  It is a greatly executed arc wrapped up in a strong plotline backed by some excellent talents in front of and behind the camera.

It seems hard to judge where this movie stands in terms of general consensus.  It’s not one of those comic book movies everyone talks about, or includes on the list of the best or worst adaptations.  I seem to perceive this as a film that had good commercial success, but tends to get overlooked for no apparent reason.  Professional critics were divided on it, but the thing with critics is that they get paid to go see movies they are not always pre-disposed to enjoy.  This was a movie that appealed to my tastes via its marketing, and it did blow me away.  Again, the hardcore fans of Hellblazer likely had their passionate gripes with all the changes made to the established elements of the property, but it’s not a bad film at all.  It’s exceptionally well made from a filmmaker with great vision and artistry, and features an amazing cast that put their all into it.  From an objective point of view, it’s a greatly entertaining and satisfying film.  It has plenty of interesting action, an excellently crafted world, fantastic, stunning visual effects, a unique and fascinating score, and is just generally well written all the way around.  I really love this film, and I love what I’ve read in the Hellblazer trade paperbacks.  Both offer me something different but equally satisfying to my tastes for supernatural horror and dark fantasy.  If you’re unfamiliar with the property, this film can ease you into the heavier subject matter and grittier feel of the comics, but they are two unmistakably different presentations on the characters and the world they inhabit.  Taking the film on its own merits, it’s a highly imaginative, excellent piece of work that is worth investing your time and interest in.