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Jason Bourne Writer and filmmaker Paul Greengrass British (Surrey, 1955) expressed a strong vocation early cinema when using a Super 16 mm camera, rolled horror short of making use of dolls and puppets. After passing through the U. of Cambridge, he joined Granada TV in which he worked for a decade as a documentarian of world events.

We do not know his long first, Resurrected (1989) and Theory of Flight (1998), but bloody Domingo Jason Bourne (Bloody Sunday, 2002), on one of the worst episodes of violence that occurred in Northern Ireland, which earned him a Golden Bear in Berlin and inaugurated a documentary style that incorporates some of his fiction and reapplied successfully in Flight 93 (United 93, 2006), dramatic reconstruction of what may have happened in the fourth hijacked plane on 11-S.

Greengrass came to lead what became a trilogy about the Jason Bourne amnesiac CIA operative Jason Bourne thanks to the retirement of Douglas Lehman, who went on to co-produce. The Bourne Identity (2004) Supremacy and Ultimatum Bourne (2006) consolidated their prestige in the industry and his friendship with Matt Damon, to the point that when both refused to continue the series the actor starred in the very successful Green Zone (Green Zone, 2010), frontal complaint against Bush's thesis that led to the war in Iraq.

Too bad, Green zone was a terrible box office flop that cost Greengrass three years of unemployment, Jason Bourne which could recover with Captain Phillips (2013), which starred Tom Hanks, tense story centered on the history of driver only ship US kidnapped 200 years and their clash with Somali executioner. Greengrass was able to provide the moral dilemmas of history and overcome the "good" versus "bad" option.

Meanwhile, the producers of the series made The Bourne Identity (2012) directed by Tony Gilroy legacy and Jeremy Renner as a parallel character, but the project failed. Nine years later Greengrass and Damon agreed to do another Bourne great production whose public success indicates that former CIA agent could become a competitor in the British box office James Bond.

Jason Bourne (Matt Damon) is pursued by the CIA, but it has finally recovered memory and knows there are reasons for this. His eternal ally, the former agent Julia Stiles (Nicky Parsons) quoted in Athens to give details of the operation which deprived him of his identity, but is discovered. Meanwhile, Heather Lee (Alice Vikander), ambitious agent who is right hand of the CIA chief Robert Dewey (Tommy Lee Jones), discovers that the Jason Bourne agency files have been infiltrated to discover data plan that designed the father Bourne ( Gregg Henry) and had the son of a volunteer and victim.

As Bourne is the prime suspect, the agent Asset (Vincent Cassel) is commissioned to remove it and Aaron Keller (Riz Ahmed) to put files safe. The move story, co-written by Greengrass and Christopher Rouse own editor, takes the viewer to Tenerife, Berlin, London and Iceland, with a devastating showdown in Las Vegas and an epilogue.

The secret of success of the Bourne series as conceived Greengrass is to have changed the profile espionage agent and designed the spy of the century. In the novels of John Le Carré or classic films as Alfred Hitchcock or Fritz Lang spy profession is linked to delays, missed appointments and double agents following the designs of the enemy powers. Clashes are games intelligence and betrayal.

Bourne, and the latest tapes of a modernized Bond, will change this, transforming espionage and its agents. Of course, the ability of the spy remains a key element, but now nothing is decided without the intervention of the control room, that room populated by anonymous operators of sophisticated technological equipment planners operating, accompanying or modify and can even track the development of the action live via satellite.

The result is a paranoid world where everything can be recording, listening and monitoring. Greengrass success as a screenwriter and filmmaker Jason Bourne world is to be given visual existence to this paranoia by a nervous mobility of the camera in the staging. Also, and it is essential, the discontinuous edition provides Christopher Rouse.

Despite the negative handicap that means the amnesia is Bourne who keeps a relative control of the keys of his mind and the history of the series is the progressive return of the protagonist to the full control of it, which your physical ability and survival sense set equal to its ability to remember. In doing so, you will be aware of being a cog in the war that maintained sectors of its parent company and its theme will become revenge.

Bourne remembers and becomes a killing machine just different from other remote thanks to moral scruples. The CIA seeks to eliminate it because he knows too much and faces Asset (Vincent Cassel, who proves to be a solvent villain) and the remainder flows like any well-oiled machine to which have incorporated elements of the highest technology. The plot imposes its own logic. Therefore, the events in Syntagma Square (a very well resolved launch) the viewer will never know why the protesters clash with police. Only interested in serving as a stage Bourne again to escape his pursuers.

The final dilemma Bourne, left for the next episode, is whether after completing their revenge and recovered memory chooses to disappear again or return to an increasingly globalized and devoid of scruples CIA. Also, in a way, it is the authors of the series, who have returned to take over the character after a break of nine years. They know that the contributions that became his trademark style have often been copied.

That risk is permanent and explains the excesses of a sequence such as Las Vegas, concession to the massive destruction of vehicles and the inevitable persecution that are inevitable in any large production of action, but which should be without a frame based on intelligence . Jason Bourne is good entertainment but made the bills, missed the critical edge of the first films of the series.