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Jason Bourne Blu-ray delivers stunning video and audio in this fan-pleasing Blu-ray release
The most dangerous former operative of the CIA is drawn out of hiding to uncover hidden truths about his past.
For more about Jason Bourne and the Jason Bourne Blu-ray release, see Jason Bourne Blu-ray Review published by Martin Liebman on November 23, 2016 where this Blu-ray release scored 3.5 out of 5.
The much ballyhooed return of Matt Damon as Jason Bourne is an unwieldy, trite, and tiresome movie that places it in a class
a notch or two below any of the films in Damon's previous Bournetrilogy. The succinctly, but appropriately, titled Jason Bourne is a victim
of a serious lack of imagination. It's all frenzy and no freshness, a movie that's essentially one long chase sequence that once again puts a man on
the move against an army of digital surveillance equipment and the people operating it in the field and behind the scenes. Director Paul Greengrass,
returning to the franchise for the third time, keeps the film in motion but never takes the audience anywhere it hasn't been before. The entire
movie plays out on cruise control, failing to find any spirit or creativity, content to unravel the Jason Bourne mystery a little further but paying no
mind to the
dizzying sense of repetition that courses through it.
While Jason Bourne (Matt Damon) has recovered his memory, he's living in seclusion and only doing what he can to stay alive and stay ahead of
those who would do him wrong. Meanwhile, Nicky Parsons (Julia Stiles) has hacked the CIA and is threatening to release its dirty laundry onto the
web. She's also uncovered a number of truths about Bourne's past and his father's life and work in the agency. She brings him the information,
placing a
target on both their backs. As they try to escape from the all-seeing eyes of the world around them, the CIA's Robert Dewey (Tommy Lee Jones)
and Heather Lee (Alicia Vikander) make him their top target, all the while he's tracked by an old nemesis with a personal grudge.
It's a sad fact that, generally speaking, there's precious little opportunity for unique storytelling anymore. It's all been done. But the Hollywood
machine has
to keep on churning. It seems like every theme has been explored and every action in support of those themes has been carried out in some form
or
fashion. Jason Bourne epitomizes all of that. The movie introduces Bourne as an underground fighter meant to compliment his strength
and define his character's lost soul and quest
for
truth, turning to the core of who he is to get by, even as he tries to escape from it. Been there, done that. A roomful of intelligence operatives
analyze
the action from a million computer screens, barking out orders to zoom in, rewind, whatever it takes to catch their man remotely. Operatives on
the
ground speak into concealed microphones in urgent, hushed whispers about being in position and spotting the target. Bourne uses crowds,
vehicles, anything to speed or mask
his movements to his advantage. Shaky handheld cameras are meant to introduce both personalization and intensity to a scene. Car chases are big
and loud but...they're just more Hollywood car chases. It's frankly almost baffling how a movie this mundane can get made, and how a sharp
director
like Paul Greengrass can allow it to snowball into one giant pile of derivative repetition. All of this kind of stuff was novel and unique back when Enemy of the State was introducing audiences to the digital surveillance
future well
head of its time. Now, movies like Jason Bourne are just late to the party. They're tiring rather than thrilling as they fruitlessly hope to
dazzle viewers by regurgitating all of it
again for the millionth time rather than find a new approach to an old idea.
The movie does hold up from a technical perspective, at least depending on one's tolerance for Greengrass' and Cinematographer Barry
Ackroyd's nonstop shaky cam and incessant toggling of the zoom switch. All of the various chases are slick and well produced, the technology in
play is as
cutting edge as it was more than a decade ago, and, well, it's a professional looking movie. Yet the cast appears super bored. All of the
faux
urgency is phoned in, and the actors seem content to allow the technical mechanics to do the work for them. All of the frenzy is generated from the
camera.
It's sort of like the opposite of The Asylum, the studio that never allows a moment to pass without score blaring in the background to try and ramp
up some sense of enthusiasm, urgency, something to mask the emptiness playing out on the screen. Greengrass and Ackroyd do the
same thing with the camera, constantly shaking, zooming, tilting, capturing action from up-close and skewered angles, anything and everything to
hide the vacuous story and disinterested performances. It's a tiring movie in more ways than one, then, as the strain of the camera's jerking and
the drain of the story's emptiness pile up to the point that walking out rather than waiting for it to end seems like the best option.
Jason Bourne was reportedly photographed with a myriad of sources, but film appears its
predominant format. The image wrangles up some terrific details, clear even through the movie's shaky-cam jerks and jitters and zooms. Facial
detailing is resplendently complex, presenting some seriously intimate images of pores, stubble, age wear, and even some blood. Environments are
sparkling, evident even at night or in lower light conditions. Dense cities and closed-in command and control centers reveal plenty of finer point details
along façades for the former and monitors and equipment for the latter. Colors are bold and true, again even in lower light conditions where saturation
and nuance are outstanding. Black levels hold naturally deep without crush and flesh tones appear well saturated and healthy. The image sports no
immediately obvious encode maladies. Grain can be a little thick, but it's evenly distributed and the transfer enjoys a quality filmic appearance.
Jason Bourne's DTS:X soundtrack demonstrates clear and capable command of the material and the listening area. The track feels consistently
immersive to the entire 360-degrees, as well as integrating a nicely balanced and never forced or intrusive overhead support structure. Music is full
bodied and clear, effortlessly positioned around the listener while maintaining lifelike definition throughout the range, including a healthy and
supportive low end. Flashback scenes offer a nice burst of ghostly reverberation and random positioning around the stage. Frenzied din at busy
locations, like protests on the streets of Athens, feature prominently and, like the music, take full advantage of every speaker in the configuration to
draw the listener into the mayhem. Lighter elements and more serene location-specific environmental details always play with rich clarity that draws
the lister in. Action scenes maintain a fine level of detail even through the chaos and aggressive volume and posturing. Stage balance is amazing, and
the listener is always directionally aware throughout. Overheads carry some quality supportive details, like helicopter rotors which are smoothly
integrated into the greater whole. Dialogue is firmly placed in the center with its only escape during naturally occurring moments of reverberation.
Jason Bourne contains several featurettes. A DVD copy of the film and a voucher for a UV/iTunes digital copy are included with purchase.
Bringing Back Bourne (1080p, 8:15): A look at returning the character to the screen, including fan demand for another film, reuniting
Damon and Greengrass, making a good film and not just a generic sequel, the use of high technology in the film, Bourne's adversary, the story's
parallels with real world issues, Greengrass' work on the film and technical details of the shoot, and Damon's physical preparations for the part.
Bourne to Fight (1080p): A three-part feature.
Bare-Knuckle Boxing (7:55): A closer look into Damon's intense physical training for hand-to-hand combat scenes in the film.
Close Quarters (4:27): A detailed look at one of the movie's key locations and crafting another one of the movie's major fight scenes.
Underground Rumble (5:59): Making the movie's climactic fight sequence, with equal emphasis on the fight's dramatic relevance.
The Athens Escape (1080p, 5:37): Crafting one of the series' most intense vehicle chase sequences.
Las Vegas Showdown (1080p): A two-part feature.
Convention Chaos (6:36): An inside look at shooting one of the film's most critical sequences in Sin City.
Shutting Down the Strip (8:24): Making some of the film's biggest and most important action scenes on the famed Vegas strip.
Jason Bourne doesn't make an effort to stand apart or tell a unique story. It's very much a standard process sort of movie, appropriately
(albeit forcibly) tense
and gritty but neither structurally nor thematically novel. At its core, it makes for a logical progression of the story, but even as it explores the
character
and world a bit more deeply, the movie's superficialities can't carry it. It's completely derivative and nondescript within the genre and is more likely to
leave the audience shaking heads and muttering "good grief, not all of this again" rather than standing up and cheering for yet another car chase,
shaky cam close-up, or control room frenzy. Universal's Blu-ray is fine. It delivers expectedly high end video and audio, paired with a decent allotment
of
extra content. Fans of the film can buy with confidence.
Jason Bourne: Other Editions
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Blu-ray Bundles/Box Sets with Jason Bourne (2 bundles)
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