Reseñas de la crítica

Why does Jason Bourne seem to add nothing to the series, bring no new questions to the story? Leaving aside that the film offers little novelty in terms of form or character, and bracketing, too, that this movie was made largely thanks to studio pressures rather than any internal narrative logic, why doesn't Jason Bourne work? Why does the question of Bourne's father feel not just uninspired, but like a kind of betrayal of what made the series special and singular?

Plot-wise, there isn't much here. One could also mention some clichéd detail (a dying ally hands Bourne an all-important key with her last breath) and moments when our hero comes perilously close to a superhero. Yet the two hours pass quickly, mostly because the action scenes are sensationally good.

What made the timeliness of the original cycle so vital is exactly what makes Greengrass' and Damon's return to the franchise in Jason Bourne so utterly useless... When the requisite Bourne car chase finally happens, it feels like something of a bygone era. Lacking any of the inventive ideas or images of the franchise's previous car sequences, Jason Bourne simply goes through the motions of wanton vehicular carnage.

The movie starts out with grand ambitions, then descends from macro-content to micro-content to nano-content as it pits Bourne against the favorite hit man of CIA director Dewey (Tommy Lee Jones), another super-skilled assassin known only as "the Asset" (Vincent Cassel). While the vehicular mayhem grows, our guts clench but our minds wander.

However sophisticated the control room may have become, and however virtual the business of spying, Jason Bourne still comes down to two men slugging it out in an alleyway after chasing each other the wrong way down a busy Las Vegas boulevard in indestructible automobiles. Like its predecessors it ends with the shriek of Moby's ‘Extreme Ways', as Bourne once again gets one over on his pursuers. And despite everything I'd be lying if I said I didn't enjoy it.

The film has one thing going for it. Watching Damon, in motion or in a rare moment of rest, is the movie's purest pleasure... Damon, his eternal boyishness finally settling into the inevitability of middle age, brings the personal touch this movie needs.

One of the more admirable traits of the original Bourne trilogy is how little pleasure it takes in its violence, but Jason Bourne revels in its vicious action sequences, merrily mowing down civilians and local law enforcement so as to capture the coolest car chase possible.

While Greengrass' decision to co-write the movie with editor Christopher Rouse is intriguing in theory, "Jason Bourne" adheres to an existing format so robotically that it never manages to surprise or engage for longer than the occasional passing moment.

Greengrass could justify his disinterest for ideologies and for today's technologies if his approach to action were more considerate and gratifying. There is, unfortunately, no compensation for this apathy in either the physicality or the pyrotechnics of Jason Bourne.

All these threads converge to form a narrative curiously devoid of suspense. Gone are the dribs and drabs of revelations about Bourne and the program that birthed him. The backstory about our hero's father seems somewhat rote (any twists in it are either predictable or silly), and the conspiracy being unraveled, while topical — with its real-life nods to tech companies colluding with the government to compromise our privacy — feels strangely antiseptic.