Die Bourne Verschwörung

Nicht so oberflächlich effektvoll wie Die Bourne Identität. Man hat aber mehr mit der Psychologie gearbeitet und die Handlung ist fesselnder. Das Drehbuch kehrt in die Vergangenheit zurück, es enthüllt neue Dinge und vertieft Bournes Figur. In dem Film gibt es – im Vergleich zu allen Spionagethrillern der letzten Jahre – sehr wenig Action. Der intelligent gestaltete Plot, in dem Bourne seinen Jägern immer einen Schritt voraus ist, braucht sie aber nicht. Die einzige Actionszene im Finale reicht völlig aus. Die Musik von John Powell rulez und Karl Urban ist ein cooler harter Kerl. (06.10.2004)

The Bourne Supremacy, the second installment of the series (the third is a given considering the fantastic box office returns in the US, currently over 170 million) is awesome. The action moments such as fights, classic shootouts and car chases (don't worry, there's an absolutely amazing one at the end) are very sparing this time, basically all of them are seen either in full or hinted at in the long trailer, but that doesn't matter at all. It is a great action film in itself, which as a whole could be succinctly summed up in the phrase "Bourne searches and chases agents and agents chase Bourne”. The story picks up a lot of momentum after the opening ten minutes, giving the impression of a speeding machine that doesn't stop for a moment, and this impression is enhanced by a fantastically paced soundtrack that is a great experience to listen to on its own. I believed Matt Damon every second he was on the screen, and Karl Urban was also excellent as the icy calm killer. My only quibble would be the camera, it was a bit too shaky for my taste, but I was able to get used to it. All in all, a flawless film and one of the best of the year... And repeated viewings enhance the experience. (12.09.2004)

A little better than The Bourne Identity, thanks mainly to Greengrass’s frantic direction. 90% (31.08.2008)

Paul Greengrass skillfully dismantles the idyllic ending that many criticized in the first installment, and he adds another genre label to the film – a revenge movie, along with its spy thriller elements. One cannot speak of pigeonholing when it comes to the form of this film, as it is a daring experiment in its own right, something that many established directors can only dream of achieving. Greengrass doesn't just use "handheld" cameras in action scenes, but he completely discards the use of a tripod. Thanks to his meticulous editing work, the storytelling takes on a completely different dimension compared to the first film. The gritty look of the entire film perfectly corresponds to the moods of the main protagonist, who fulfills his own tasks without a hint of emotion, tasks that his former employers, now his pursuers, are unable to comprehend. Where else can you see a positive hero beating an "innocent" girl against a wall and demanding a confession from her? Where else can the hero use a magazine to destroy not only the enemy but the entire house? The original filmmaker's experiment, which paid off multiple times for the producers, deserves one thing: To conclude the trilogy in spectacular style. (25.11.2004)

Greengrass hat es besser verstanden als Liman. Das einzige, worin sein authentischer Bourne ins Hintertreffen gerät, ist die Choreografie einer Schlägerei. Andernfalls wird das, was in der vorherigen Folge wie ein Schritt zwischen einem dynamischen und einem rauen Thriller und einem glattgekämmten Spionagefilm á-la M:I aussah, durch Pauls typischen Schwung und dokumentarischen Bilderstrom ersetzt. Heraus kommt dabei ein Bourne, der außer Identität vor allem Integrität findet, wobei fehlendes Charisma dort erscheint, wo Bourne als Mann und Bourne als Soldat ein Körper und eine Persönlichkeit werden. Damon scheint diesem Charakter auf den Geschmack gekommen zu sein, so dass Bourne harte scharfe Ellbogen als auch menschliche Züge hat, ohne sich zu widersprechen. Großartige Autoverfolgungsjagden, Spannung gibt´s selbst in friedlichen Szenen, eine viel zivilere Konzeption und natürlich die 24-karätige Verfolgungsjagd in Moskau. Vorwerfen würde ich dem ganzen lediglich die groß angelegte Geste der Menschlichkeit zum Schluss, die ein bisschen übertrieben ist und manchmal auch die Vorhersehbarkeit und die Lücken in der Logik. Jedoch ansonsten fängt Jason Bourne so langsam damit an, mich auf seine Seite zu gewinnen. (14.02.2008)

Although I found Bloody Sunday absolutely gripping, knowing his style I couldn’t imagine how Greengrass intended to approach this commercial spy thriller. He approached Bourne in his very own way and the result is a realistic glimpse of the tricky life led by a former elite agent. From the first seconds, the pace of this picture is incredible and the way he steady increases the tension is completely exceptional. Add to this the solid plot involving nothing big, “just" a personal vendetta, and in the end the vendetta isn’t really so important. Splendid camerawork and Powell’s soundtrack suck you whole into the story. The acting is splendid too, even from the taciturn Matt Damon. As a whole this is a hugely quality picture, with added flavor in the form of nice little details that you appreciate fully only when watching it again (the poster about the demonstration and subsequent use of this information, the jump that went wrong and the limping and the fact that apart from the flashback and two shots in the tunnel, Jason doesn’t use a gun, and many more). Unforgettable, gripping, and nicely innovative (trans)genre picture. Bourne has set the bar so high for Ethan and Bond that it is almost unbeatable in its genre... ♫ OST score: 5/5 (07.10.2004)

The simplest guide to return in royal style. Healthily combined hierarchy of opponents, even cooler approach and a flood of captivating and formally tousled action that has become the benchmark for every other action movie that borrowed a handheld camera. For the story, the biggest plus is definitely the cold-blooded duo Urban - Roden as a contrast to my favorite Pamela Landy. The fact that my heart rate immediately increases only when Jason appears on the street never ceases to amaze me. (23.05.2005)

Unlike the first film, the second is faster, less polished, and filmed as if it were a "live broadcast." This makes it difficult for the viewer to orient themselves with what is going on on the screen at times because they know only slightly more than Bourne - and he knows nothing... Moreover, the handheld camera shakes like a black boy in front of a group of skinheads in tense action moments - which is especially evident in the final chase through the streets of Moscow. Some may appreciate it as being authentic, but I had a bit of a problem with it. The script and acting performances are on a high level, the music is excellent, and the pace is extremely fast. Karel Roden's smaller role as a Russian oligarch is pleasing. The film forms a narrative and creative whole with the third installment, so anyone who happened to see the third one earlier will intimately recognize the style. Overall impression: 85%. (20.10.2007)

The perfect prototype of an action movie. Excellently thought-out action from beginning to end, with a wise lesson to be learned at the end. Perfect camerawork, amazing directing, Powell’s brilliant music, an excellent story... what more can I say? I hope Ultimatum will be at least as good, if not better. (31.05.2006)

Paul Greengrass delivers a spy thriller full of modern technology, fast cuts, and perfect handheld camera work. The plot is also very fast-paced, dynamic, and above all completely unpredictable. Matt Damon is a great action hero mainly because he doesn't look like a super secret agent at first glance, so you can relate to him much better. (11.02.2005)

Der erste Bourne hat mir gefallen, der zweite ist großartig. Realistischer, spannender, interessanter, überraschender… Und trotzdem könnte man sagen, dass in ihm Dinge passieren, die man schon irgendwann und irgendwo gesehen hat, nicht wahr? Der Film muss doch kein spektakuläres, aber in Endeffekt dummes Finale mit einem Treppensprung wie im vorigen Teil haben, ach wo. Eine (absolut atemberaubende) Autoverfolgung und eine Szene, die zwar keine Action hat, die aber dem Publikum trotzdem den Atem verschlägt, reichen völlig aus. Ich glaube, dass vieles in Die Bourne Verschwörung langweilig und gewöhnlich gewesen wäre, wenn der Film nicht so hervorragende Schauspieler*innen gehabt hätte und wenn er nicht vom "Dokumentaristen“ Paul Greengrass gedreht worden wäre. (08.02.2015)

A riveting cat-and-mouse espionage game; a (r)evolution of the action film shot in the most ingenious and progressive way imaginable, maintaining the coherence and complexity of its fictional world by systematically alternating narrative principles in four blocks, and entertaining the viewer with a ceaseless geyser of beautiful visual ideas and meaningful development of its complex plot. No other film, and probably no other director, has managed to combine so many characters and compositional motivations into one voluminous, complementary and parallel plot without at any point slowing down the pace or stopping the narrative, even if only for a minute, from developing further before our eyes. A flawless piece of work, perfect and sophisticated in every cut (and there are quite a lot), shot (there is no framing that isn't important in some way now or after a while), musical cue (Powell pulls it off again, the final song is divine) or actor's expression (For Damon, no doubt the role of a lifetime, but that would be Jason Bourne for anyone :). 100% (07.10.2016)

The first film didn't excite me that much, but I was still looking forward to the second part. Generally, I quite like series. Additionally, this is still a fairly intelligent action series that features one of the most interesting characters of recent times. We learned what Agent Bourne is about. We know that he is a secret weapon, a man who was trained to kill. However, we still don't know what actually happened to him, why he lost his memory. Well, in the end, we won't find out in the second part either. It mainly focuses on what happened to Bourne after we left him. We know that he stays with Marie, who became his girlfriend. That also applies to the beginning of the film. But there is a problem. They discover them. They are the ones who wanted to get Bourne in the first film. They don't succeed now either, but Bourne has to make a cruel sacrifice. Marie is shot instead of him. Bourne's life is no longer just driven by the desire to survive, but now he returns to what he originally wanted. To find out who he really is and why the woman he loved had to die. Revenge becomes his driving force and he is up against not only the organization that is responsible for his birth and fall, but also a Russian group led by Karl Roden. This native of České Budějovice has indeed established himself abroad and with his face, he is a perfect fit for the Russians. At least according to Hollywood productions. His role is not important, the focus is always on Bourne and the offices from which they try to control his downfall. Unsuccessfully. Paul Greengrass brought a crucial element to the film - action that is truly adrenaline-filled. Jason Bourne is a deadly weapon and in this film, he finally shows us that to the fullest extent. But wait for the third film, that's where it really takes off. More: http://www.filmovy-denik.cz/2013/02/now-is-good-stand-up-guys-bourne-30.html (05.03.2013)