‘Bourne’ free of generic, action-genre story lines

ROB OROZCO

Jason Bourne (Matt Damon), first introduced to film audiences in 2002

in “The Bourne Identity,” returns to continue his quest for his

identity in “The Bourne Supremacy.” When we last left Jason, he had

awakened from his amnesia, vowing never to continue his former line

of work as a CIA agent and to kill anyone who sought to “bring him

in.”

As “Supremacy” opens, we find Jason and his companion Marie

(Franka Potente) on the remote island of Goa, living a life of

relaxation. However, Jason is still plagued by flashbacks of his

previous life and possible assignments when he sees a new arrival in

town who is “not driving the right car and not wearing the right

clothes.” In other words, they are still after him. What is it about

Jason that makes his perceived enemies want to spend millions to

eliminate him?

The move is assembled from standard action-genre ingredients.

However, “Supremacy” distinguishes itself from other generic and

mind-numbing thrillers with parallel story lines in Goa, Washington,

New York, Berlin, and Moscow.

The plot is set in motion by the aforementioned mystery man on

Goa, which finally sends Bourne to confront his pursuers. What Bourne

doesn’t know is that the CIA has found his fingerprints at a murder

scene in Berlin, where two CIA agents under the direction of Pamela

Landy (Joan Allen) were killed. Landy, of course, wants to eliminate

Bourne or find out if he is now freelancing. Returning from the

original movie are agents Abbott (Brian Cox) and Nicolette (Julia

Stiles), who warn Landy of the folly in trying to eliminate Bourne.

Under the direction of Paul Greengrass (“Bloody Sunday”) and

screenwriter Tony Gilroy, the movie skillfully delivers a series of

chase and fight sequences that do not rely on the typical guns and

brawn but on Bourne’s inventiveness. The movie is also unique in its

creative solution to the by-the-numbers nature of chase and fight

sequences -- using a series of highly disorienting and novel editing

and cinematography that allow the audience to perceive Bourne’s point

of view. While these sequences may induce nausea in some audience

members, it is a relief to avoid the wide shots that typically allow

the audience member to view the entire sequences as a disinterested

observer.

But I digress. “Supremacy,” like most action-adventure movies,

does not exist in a plausible universe. The suspension of disbelief

is required to enjoy any film in this genre. But, unlike the other

members of the genre, “Supremacy” makes an effort to be unique, to

have a protagonist who reflects on his actions and challenges the

audience with a plot that requires some cognitive skills. And after a

summer of mind-numbing explosions, cheesy dialogue and cardboard

acting, enjoy this film while you can.

* ROB OROZCO, 29, is an attorney who lives in Newport Beach with

his wife and two cats.

Metallica creates and tames the ‘Monster’

The documentary “Metallica: Some Kind of Monster” was filmed

during the two years the band spent making its latest album, “St.

Anger.” Filmmakers Joe Berlinger and Bruce Sinofsky apparently

started out to make a standard “making of an album” movie but ended

up with a much different film.

There are many levels in “Some Kind of Monster.” On the surface,

it documents the creative process of making an album by musicians who

care about the quality of their music. It also shows the band

experiencing and trying to work through several personal and

professional crises. At its core, the film, and the band, center

around the complicated and turbulent decades-long friendship between

singer/guitarist James Hetfield and drummer Lars Ulrich.

At the beginning of the film, that relationship is strained and

headed toward complete breakdown. The band resorts to group therapy

to try to fix the dynamic and focus on the music. At the same time,

Metallica is also trying to make an album in a completely different

way than it ever has before. Partway through recording the album,

Hetfield enters rehab and goes through recovery for nearly a year,

bringing the album to a halt and raising the question of whether this

is the end of Metallica. On top of all this, they need to find a new

bass player since long-time bassist Jason Newsted left the band.

The film swings from brilliant to pretentious moments. Some of the

therapy sessions get self-indulgent and filled with psychobabble. A

section about Ulrich’s art collection is bizarre. But just when the

band is seemingly too exasperated to continue watching, they pull

together and show the talent and the power that has made them a

legendary band. Hetfield and Ulrich come across as intelligent,

complex and flawed. These are two strong and often clashing

personalities, creating some compelling psychodrama. There are also

unintended amusing aspects of the film, like the changing heavy metal

hairstyles of the band members over the years.

“Metallica: Some Kind of Monster” is probably more meaningful to

fans of Metallica, but there are still many fascinating moments in

the film for nonfans.

* TRICIA BEHLE lives in Newport Beach and works as a software

validator.