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Notwithstanding Dewey's promise to allow the ambitious Heather one shot at lassoing Bourne, the relentless Asset continues to hunt his prey, now in London.
A long pursuit sequence through the city's gleaming new business district repeats many of the familiar moves, with characters darting quickly through crowds, from vulnerability to fleeting safety, with technology always in play and some resultant fatalities; it is, nonetheless, reliably tense.
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Vikander is a very welcome addition to the series, her convincing intelligence and confident spirit lending credence to the idea that the CIA would engage someone so young for such an important position.
But a moment or two of plain, simple humanity, a few lines or smart remarks unrelated to matters at hand, would have helped her breathe a whiff of real life into her character.
In his few scenes, Ahmed makes a very strong impression as a young tycoon newly emboldened to hold his ground against overbearing government pressure.
And it is good to see Stiles back, however briefly.
As if anxious to serve up the first virtuoso action set-piece, Greengrass and Rouse quickly set the table back at Langley: New CIA director Robert Dewey (Tommy Lee Jones) has a keen young analyst, Heather Lee (Alicia Vikander), who has located Bourne's long-ago contact Nicky Parsons (Julia Stiles) and rightly suspects that she has gone over to the other side in possession of a top secret file, the public revelation of which “could be worse than Snowden.” For the better part of the next half-hour, the film bristles with visceral excitement.
As Bourne and Parsons rendezvous in Athens, Dewey's hired French assassin (cheekily named “Asset” and played with fierce menace by Vincent Cassel) pursues them through crowds of protestors that are moving through nocturnal streets, waving banners and, with gathering boldness, pushing matters closer to the edge of violence.
Technically and logistically, Greengrass delivers everything you expect from him; there's no one better when it comes to staging complex, chaotic action amid the real life of big cities.
As before, cinematographer Barry Ackroyd is a great asset in this regard, and all production and effects hands join seamlessly in the achieved goal of physical verisimilitude.
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