This past weekend brought Jason Bourne to theaters after being away for nearly a decade. The sequel hasn’t fared too well with critics, earning a 57% on Rotten Tomatoes, but audiences turned out enough this weekend to take it to the top of the box office. Still, it’s hard to deny that Jason Bourne doesn’t exactly deliver as high of quality storytelling in the spy thriller arena as the three predecessors starring Matt Damon.
However, as you probably noticed, Jason Bourne definitely hit all the same notes as each of the chapters in the Bourne trilogy, which all involved Matt Damon learning a little more about his character, getting in a cool car chase, and finding out that the person in charge of finding him is just a puppet for something larger. At least, that’s how the Bourne trilogy Honest Trailer breaks it down, complete with an apt comparison to a Pixar favorite. Watch below! Read More »
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It’s been almost a decade since the saga of Matt Damon‘s amnesiac super-spy Jason Bourne came to an apparent end. In fact, the door was so firmly closed on this story that Universal tried to spin off another character to keep the series going with The Bourne Legacy. That didn’t work as planned and now the original Bourne is back, with director Paul Greengrass back at the helm.
And let’s face it: there’s a whole lot going on in these movies, it’s been a long time since they were in theaters, and you may be a little rusty with the details as you prepare to settle in for Jason Bourne this weekend. We’ve got you covered. Here’s everything you need to remember from the original Bourne movies.
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There’s just a few days left until Jason Bourne hits theaters. That means you’re running out of time to catch up on the film franchise that began all the way back in 2002 with The Bourne Identity and appeared to conclude with The Bourne Ultimatum in 2007. So if for some reason you’re desperate to see this movie on opening weekend, you don’t have time to sit through three movies that run about two hours each, then we have good news.
Matt Damon has made it possible for you to recap the entire Bourne film franchise in just 90 seconds. Unlike the recent recap video we posted which accomplishes the same in about three minutes, this recap doesn’t bother to include the spin-off The Bourne Legacy with Jeremy Renner. Honestly, you’d be better off doing the same thing.
Watch the Bourne movies recap by Matt Damon after the jump. Read More »
Next week marks the return of Matt Damon as the forgetful assassin named David Webb, although everyone knows him better as Jason Bourne. Though the actor and director Paul Greengrass appeared to be done with the franchise for good after The Bourne Ultimatum, the lackluster spin-off The Bourne Legacy had Universal clamoring to get them both back in an effort to keep the franchise alive. But since it’s been nearly 10 years since the last movie starring Matt Damon hit theaters, you might need a refresher on everything that’s happened since the whole franchise started.
Watch an entire Bourne movies recap (including The Bourne Legacy) in under three minutes after the jump. Read More »
One of the most disappointing elements of The Bourne Legacy was its score (Germain was a fan of the film overall, but I was not). John Powell had created such a rich, unique sound in the first three Bourne films and it was sad for me to see James Newton Howard deliver a lackluster soundtrack (and even more sad that that was probably one of the least of the film’s problems).
I decided to take a look back and see if the scores still held up. Below the jump, you’ll find a brief audio retrospective on John Powell’s work in this series of films. Questions/comments/agreements/disagreements? Leave them below or shoot me an email at slashfilmcast(AT)gmail.com.
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Posted on Friday, February 27th, 2009 by David Chen
In this special episode of the /Filmcast, Dan Trachtenberg from The Totally Rad Show joins David Chen to geek out about their favorite soundtracks. To listen to all of the songs that Dan mentioned during this episode in their entirety, click here to go to Grooveshark. To listen to all of the songs that Dave Chen mentioned during this episode, click here.
Like what you hear? Want to hear similar episodes in the future? Send feedback to slashfilmcast(AT)gmail(DOT)com or call and leave a voicemail at 781-583-1993. One correction to note: the last track that is played, “Fantasia on a Theme By Thomas Tallis” was composed by Ralph Vaughn Williams. Eugene Ormany, who we mention, conducts the orchestral performance.
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Update: Some people have reported experiencing audio problems with this sound file. Please try downloading the file to your computer, rather than playing it in your browser. That should fix the problem (If it does not, shoot me an e-mail or leave a comment below). Thanks!
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What if movie posters were more honest? What if the theatrical one-sheet wasn’t filled with floating heads of the main stars, but instead featured all the brand tie-ins and product placements up-front?
The Antrepo Design team created a set of vancas posts which are just that. I somehow doubt Hollywood will pick up on this concept.
Now if only they would’ve created a poster for Michael Bay’s The Island… Although for that film, I have a feeling that all the product tie-ins wouldn’t be able to fit on one normal sized poster.
I love to hate Bill O’Reilly. According to the man, my whole city should fall into the ocean, and The Simpsons Movie is “more realistic” than The Bourne Ultimatum. Yes, he actually wrote that. In his latest column titled The Bourne Buffoonery, Reilly calls out the film for being unpatriotic.
“I knew this movie was trouble when I read the reviews. Almost all the critics liked it. The only way American movie critics would like a violent car chase film like this was if it bashed the USA, which, of course, it does,” wrote Reilly.
I was going to print a listing of all the chase movies or car chase films that made lots of money at the box office without bashing America. But I’ve decided that Reilly’s statement is so ridiculous that it isn’t really worth rebutting (which is often the case with most of O’Reilly’s statements).
“In the Bourne movie there are no shotguns to frighten Julia, but plenty of automatic weapons fired at U.S. intelligence agents, not by al Qaeda, but by American Matt Damon. As the casualty count rose, I kept thinking about all those disability payments we taxpayers would have to pick up,” writes O’Reilly. “[Paul] Greengrass has used his skills as a filmmaker to create a slick propaganda package that will make him millions of dollars. And standing between Mr. Greengrass and real life terrorists who would slit his throat are, of course, real life American intelligence people. In the end, the America-haters will love The Bourne Ultimatum and apolitical others may enjoy the action and carnage. The movie is a perfect storm of misguided ideology, silly plotting, and absurd conclusions. In other words, it’s a blockbuster.”
You can read O’Reilly’s full review at this link, or post a comment below.
Universal’s The Bourne Ultimatum grabbed $25.5M on Friday, which should translate to a staggering $72M opening weekend. That’s easily the best opening in the franchise, topping The Bourne Identity‘s $27.1M and The Bourne Supremacy‘s $52.5M. This also marks the best opening weekend of Matt Damon’s career.
Last week’s big winner The Simpsons Movie is taking a larger than expected drop after a meteoric $102.9M in its opening 7 days. The big screen version of Fox’s long-running series has added an estimated $8M on Friday, but the animated flick is headed for only $25M or so for the weekend, which is a massive 66% drop from its opening. Disney’s Underdog, which wasn’t screened for critics, is a surprise third with $4.1M on Friday, and, with a big Saturday and Sunday kiddie bounce, it should have $12.1M banked by Monday morning. I Now Pronounce You Chuck & Larry is a solid 4th with $3.3M today and an estimated $10.6M for the weekend.
Hot Rod and Bratz have both tanked. The Andy Samberg comedy from SNL producer Lorne Michaels stumbled out of the gates with only $2M, and it will manage only a meager $5.1M for the 3-day. Bratz, geared for preteen girls, could only drum up $1.75M to start the weekend, and it will finish the weekend with an estimated $4.4M.
Among limited releases, the Jennifer Lopez-produced El Cantante has a PTA of $1,600 or so, which gives it an estimated $850,000 on 542 screens. This biopic about salsa king Hector Lavoe should finish the weekend with something in the $2.5M range. Also scoring well was Becoming Jane starring Anne Hathaway with an average of just over $3,000 on its 100 screens and an estimated $310,000. This Jane Austen biopic will likely bank about $1.1M during its opening 3-day with an aggressive expansion set for next weekend.
You can read more in-depth box office coverage at FantasyMoguls.com.