Before The Bourne Legacy, Tony Gilroy directed Michael Clayton, which I loved, and Duplicity, which I didn't. Legacy, which stars Jeremy Renner and Rachel Weisz, is as humorlessly briliant as the Bourne Ultimatum, a study in cagey, outlandish subterfuge and velocity that was directed by Peter Greengrass. Renner is an amped-up version of the super agent Jason Bourne (played by Matt Damon), and Weisz is a brainy biochemist caught in a mysterious "downsizing" operation that sends both of them scurrying from pillar to post to escape detection and elimination. Gilroy was one of the writers on Ultimatum so this latest entry in the franchise, based on the Robert Ludlum series, weaves in prime elements from Ultimatum into this story and moves the tale sideways more than forward, but still at a ferocious pace. The key high-octane set pieces (including the mandatory vehicular finale, this time through the crowded streets of Manila) are expertly and purposefully disorienting, creating a film that's a wondeful carnival ride of dread and delusion. Warning: The ending, which leaves the door wide open for new adventures, might leave some fans a bit deflated.
Alternative monitoring of popular culture ~ broadly defined ~ in the pursuit of deeper understanding
Saturday, August 11, 2012
The Bourne Legacy
Before The Bourne Legacy, Tony Gilroy directed Michael Clayton, which I loved, and Duplicity, which I didn't. Legacy, which stars Jeremy Renner and Rachel Weisz, is as humorlessly briliant as the Bourne Ultimatum, a study in cagey, outlandish subterfuge and velocity that was directed by Peter Greengrass. Renner is an amped-up version of the super agent Jason Bourne (played by Matt Damon), and Weisz is a brainy biochemist caught in a mysterious "downsizing" operation that sends both of them scurrying from pillar to post to escape detection and elimination. Gilroy was one of the writers on Ultimatum so this latest entry in the franchise, based on the Robert Ludlum series, weaves in prime elements from Ultimatum into this story and moves the tale sideways more than forward, but still at a ferocious pace. The key high-octane set pieces (including the mandatory vehicular finale, this time through the crowded streets of Manila) are expertly and purposefully disorienting, creating a film that's a wondeful carnival ride of dread and delusion. Warning: The ending, which leaves the door wide open for new adventures, might leave some fans a bit deflated.
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Danai Gurira
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As you closely read the two photographs above -- Sally Mann's "Candy Cigarette"(top) and Diane Arbus's "...
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