The pacing of The Bourne Ultimatum is top-notch, giving viewers two hours of excitement no roller coaster ride could ever dream to give.

Rating: 8/10 (25 July 2010)

Paul Greengrass might wish to consider getting a camera tripod. The Bourne Ultimatum is a pure exercise in 'Parkinson's camera'; Greengrass gleefully indulges in shaky photography which results in a blinding action thriller. I wouldn't fault him because he has the cinematic intelligence to justify his decision to film the final chapter of the Bourne trilogy on a vibrating bed. However, he goes a little too much in certain scenes, jerking the lens about even during slower face-to-face conversations.
The storyline packs a punch, delivering an intricate plot of a former spy hunted by government agents who are determine to thwart the former from recollecting his mysterious past. The result is a well-conceived screenplay that makes James Bond films look like child's play. The Bourne Ultimatum is inherently a foot chase over many cities from New York to Madrid. I've to applaud Greengrass' for building up several of the film's twenty minute chase sequences' to heart-pounding levels through the clever use of snappy editing and the above-mentioned Parkinson's camera approach.
The final climax is somewhat anti-climatic and predictable. But that does not numb our satisfaction for The Bourne Ultimatum. It's one of the leading exponents of the spy-thriller in recent years. Matt Damon and a highly talented supporting cast lend enough quality to the film's emotional core whilst the transition from its previous installment, The Bourne Supremacy, is fluid. Greengrass might be accused of overusing flashbacks (which are sometimes distracting), but most of us will acknowledge that the pacing of The Bourne Ultimatum is top-notch, giving viewers two hours of excitement no roller coaster ride could ever dream to give.
SCORE: 8/10 (www.filmnomenon.blogspot.com) All rights reserved!