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Written for my website (ShaunMunro.co.uk) in case it shows up on search engines, cheers :0)
The Bourne series (comprising of The Bourne Identity and The Bourne Supremacy) has, up to this point, been noted for its intelligent, old-school action pieces, its well-executed plot, and whether you love it or hate it, its violently kinetic camerawork (or "that annoying shaky camera", as some profess to call it).
Ultimatum, the third (and purportedly final) instalment in this wonderfully consistent series seeks to solve the mystery of Jason Bourne's identity, whilst providing audiences with smart thrills-and-spills, and a winding plot that's packed with tension to an almost unbearable, Hitchcockian level. To say that it delivers in all of these aspects is to merely touch the surface, and hardly do this smashmouth rollercoaster-ride of a spy thriller justice.
It has famously been said that act one of a play is "the cat getting up the tree", act two is "what the cat encounters whilst in the tree", and act three is "the cat getting down from the tree". This series in of itself is something of a tripartite-structured play, and in Ultimatum, this crucial, explosive, frenetic third act, Jason Bourne gets down from the tree, and does so kicking and screaming for near enough the entire 115-minute running time.
This globe-trotting adventure (which sees Bourne travel to Paris, London, Madrid, Tangier and back home to New York) continues quite literally where Supremacy left us, although to say too much about this would spoil a surprise regarding the first 80 minutes of the film. In short, the first two thirds of this film will likely leave you thinking "Wait a moment, where does this slot in?", and then you'll have your feet kicked out from under you and soon enough realise quite what's going on. I imagine some people may not enjoy being lead down a path like this, but I felt that it worked, even if it wasn't really necessary.
Supremacy saw Jason Bourne attempting to make amends for his past transgressions as an assassin, and this theme is somewhat recurrent through Ultimatum, although is admittedly overshadowed by Bourne's undying, almost desperate need to know who he is, and how he became this person. Bourne does make amends, but as he finds others able to help his cause, he inadvertently makes them targets also, in one instance resulting in their rather shocking death.
The tense cat-and-mouse game in London introduces us to the latest bureaucrat baying for Bourne's blood - the thoroughly dislikeable CIA official Noah Vosen, played with an appropriate level of slime by David Strathairn, who was more perfect for this role than words can describe, and believe me, that's a compliment. Vosen is heading up the latest incarnation of the infamous Treadstone program, now renamed "Blackbriar", which serves as a means for the CIA to, without recourse, dispatch sleeper assassins to eliminate governmental targets, the current, and most slippery of which is Bourne.
It isn't long before Pamela Landy (Joan Allen) is pulled back into the fold to assist in capturing Bourne, although it becomes clear very quickly that she is the antithesis of Vosen. Vosen wishes to make quick work of Bourne, killing him (and anyone aiding him) and moving on, whilst Landy is opposed to his end-game attitude, and wants to get to the truth. As such, there is an ever-present struggle between Landy and Vosen, one which builds and builds until the immensely satisfying payoff.
It is perhaps more inexorably true in Ultimatum than the previous instalments that no matter what you throw at Bourne, he will take it in his stride, perhaps adjusting a few steps along the way, but he will make it through. One can attempt to outsmart him, but ultimately, Bourne is much smarter than his pursuers, and more incredibly, it doesn't cause him to appear smarmy or unrealistically adept (take note: the last decade's worth of James Bond films, minus Casino Royale). The CIA frequently find important pieces to Bourne's puzzle, but by the time they arrive at them, Bourne has swept through, found what he needs, and simply has to lie in wait to dispatch the next fleet of bad guys sent his way.
An interesting side-note to that, though, is that at one stage, a Blackbriar assassin is able to outsmart Bourne, and Bourne's inability to notice what had been placed before him hinders his progress further, as Bourne near-enough has to return to the drawing board with his only lead expended. Curiously, it appears that whilst the CIA could not stifle Bourne, persons emergent from these shady training programs are the closest thing to Bourne's match.
Be that as it may, Bourne is not without help. Nicky (Julia Stiles) returns once again, initially as Bourne's reluctant cohort, but it soon becomes clear (although is never explicitly stated) that they share a past. Nevertheless, Nicky acts almost as a replacement for Bourne's companion, Marie, from the first two films, although fortunately, things never delve into a ham-fisted love story. Rather, Nicky helps Bourne both tail and evade assassins left and right, using her CIA clearance to do so, although this is at the cost of slowing Bourne down considerably, as she is vulnerable in field operations and requires near-constant protection (as she herself is now a target).
Whether you're a fan of Greengrass' directorial style or not, it cannot be denied that his fight scenes present a brutality, a naturalistic violence that is rarely executed as well or as often as it should be. As Bourne treks across Tangier, he is set on by an assassin, and the two engage in a wildly visceral slug-fest that is about as engrossing as these brawls come. The "meat packing" sounds aren't overdone, both men seem capable of victory, and the fight is messy rather than stagey (they stumble over, grabbing any weapon they can, even if it's a towel), and this all adds up to an absolutely thrilling mano-y-mano contest.
Furthermore, as is de rigueur with this series by now, Ultimatum is complete with a wildly hyperactive car chase, and as per its predecessor, results in a chaotic and insanely violent collision, sending metal flying in all directions. The resultant carnage of this chase actually allows a turn of character development for Bourne - he has become this repentant character who wishes to stop running, and this is reflected in the mercy that he exhibits near the film's close, which in turn may be the smartest decision he ever made. By the film's end, things have come full-circle in a rather clever fashion, and one would not be lambasted for wanting to let out an uproarious cheer, be it for finally getting the answers we've been waiting three films for, because Jason Bourne is such an extremely likable protagonist, or because of the ever-consistent, ever-meticulous filmmaking on display in this trilogy.
The Bourne Ultimatum is the sum of the parts so expertly crafted by Doug Liman and subsequently Paul Greengrass. You'll observe that Ultimatum received half a star higher than the previous films - does that mean Ultimatum is a better film? At the risk of butchering my own rating system, I'm going to say no. Ultimatum is in many ways much of the same (not that this is a bad thing), but what Ultimatum does is give us the answers we've been pining for, and embodies everything that made the first two films so fantastic in the first place. The first two films were the build-up, throwing more and more questions at us and a few answers here and there, and Ultimatum is the incredibly satisfying, action-packed payoff. Whilst many will disagree (on the grounds that two more books were written, albeit by Eric Van Lustbader rather than Robert Ludlum), I feel that Ultimatum is the natural end to this story, and if we never see another entry into the series, that shows a degree of restraint rarely seen these days, and I respect that.
Thanks for reading,
Reefer
The Bourne series (comprising of The Bourne Identity and The Bourne Supremacy) has, up to this point, been noted for its intelligent, old-school action pieces, its well-executed plot, and whether you love it or hate it, its violently kinetic camerawork (or "that annoying shaky camera", as some profess to call it).
Ultimatum, the third (and purportedly final) instalment in this wonderfully consistent series seeks to solve the mystery of Jason Bourne's identity, whilst providing audiences with smart thrills-and-spills, and a winding plot that's packed with tension to an almost unbearable, Hitchcockian level. To say that it delivers in all of these aspects is to merely touch the surface, and hardly do this smashmouth rollercoaster-ride of a spy thriller justice.
It has famously been said that act one of a play is "the cat getting up the tree", act two is "what the cat encounters whilst in the tree", and act three is "the cat getting down from the tree". This series in of itself is something of a tripartite-structured play, and in Ultimatum, this crucial, explosive, frenetic third act, Jason Bourne gets down from the tree, and does so kicking and screaming for near enough the entire 115-minute running time.
This globe-trotting adventure (which sees Bourne travel to Paris, London, Madrid, Tangier and back home to New York) continues quite literally where Supremacy left us, although to say too much about this would spoil a surprise regarding the first 80 minutes of the film. In short, the first two thirds of this film will likely leave you thinking "Wait a moment, where does this slot in?", and then you'll have your feet kicked out from under you and soon enough realise quite what's going on. I imagine some people may not enjoy being lead down a path like this, but I felt that it worked, even if it wasn't really necessary.
Supremacy saw Jason Bourne attempting to make amends for his past transgressions as an assassin, and this theme is somewhat recurrent through Ultimatum, although is admittedly overshadowed by Bourne's undying, almost desperate need to know who he is, and how he became this person. Bourne does make amends, but as he finds others able to help his cause, he inadvertently makes them targets also, in one instance resulting in their rather shocking death.
The tense cat-and-mouse game in London introduces us to the latest bureaucrat baying for Bourne's blood - the thoroughly dislikeable CIA official Noah Vosen, played with an appropriate level of slime by David Strathairn, who was more perfect for this role than words can describe, and believe me, that's a compliment. Vosen is heading up the latest incarnation of the infamous Treadstone program, now renamed "Blackbriar", which serves as a means for the CIA to, without recourse, dispatch sleeper assassins to eliminate governmental targets, the current, and most slippery of which is Bourne.
It isn't long before Pamela Landy (Joan Allen) is pulled back into the fold to assist in capturing Bourne, although it becomes clear very quickly that she is the antithesis of Vosen. Vosen wishes to make quick work of Bourne, killing him (and anyone aiding him) and moving on, whilst Landy is opposed to his end-game attitude, and wants to get to the truth. As such, there is an ever-present struggle between Landy and Vosen, one which builds and builds until the immensely satisfying payoff.
It is perhaps more inexorably true in Ultimatum than the previous instalments that no matter what you throw at Bourne, he will take it in his stride, perhaps adjusting a few steps along the way, but he will make it through. One can attempt to outsmart him, but ultimately, Bourne is much smarter than his pursuers, and more incredibly, it doesn't cause him to appear smarmy or unrealistically adept (take note: the last decade's worth of James Bond films, minus Casino Royale). The CIA frequently find important pieces to Bourne's puzzle, but by the time they arrive at them, Bourne has swept through, found what he needs, and simply has to lie in wait to dispatch the next fleet of bad guys sent his way.
An interesting side-note to that, though, is that at one stage, a Blackbriar assassin is able to outsmart Bourne, and Bourne's inability to notice what had been placed before him hinders his progress further, as Bourne near-enough has to return to the drawing board with his only lead expended. Curiously, it appears that whilst the CIA could not stifle Bourne, persons emergent from these shady training programs are the closest thing to Bourne's match.
Be that as it may, Bourne is not without help. Nicky (Julia Stiles) returns once again, initially as Bourne's reluctant cohort, but it soon becomes clear (although is never explicitly stated) that they share a past. Nevertheless, Nicky acts almost as a replacement for Bourne's companion, Marie, from the first two films, although fortunately, things never delve into a ham-fisted love story. Rather, Nicky helps Bourne both tail and evade assassins left and right, using her CIA clearance to do so, although this is at the cost of slowing Bourne down considerably, as she is vulnerable in field operations and requires near-constant protection (as she herself is now a target).
Whether you're a fan of Greengrass' directorial style or not, it cannot be denied that his fight scenes present a brutality, a naturalistic violence that is rarely executed as well or as often as it should be. As Bourne treks across Tangier, he is set on by an assassin, and the two engage in a wildly visceral slug-fest that is about as engrossing as these brawls come. The "meat packing" sounds aren't overdone, both men seem capable of victory, and the fight is messy rather than stagey (they stumble over, grabbing any weapon they can, even if it's a towel), and this all adds up to an absolutely thrilling mano-y-mano contest.
Furthermore, as is de rigueur with this series by now, Ultimatum is complete with a wildly hyperactive car chase, and as per its predecessor, results in a chaotic and insanely violent collision, sending metal flying in all directions. The resultant carnage of this chase actually allows a turn of character development for Bourne - he has become this repentant character who wishes to stop running, and this is reflected in the mercy that he exhibits near the film's close, which in turn may be the smartest decision he ever made. By the film's end, things have come full-circle in a rather clever fashion, and one would not be lambasted for wanting to let out an uproarious cheer, be it for finally getting the answers we've been waiting three films for, because Jason Bourne is such an extremely likable protagonist, or because of the ever-consistent, ever-meticulous filmmaking on display in this trilogy.
The Bourne Ultimatum is the sum of the parts so expertly crafted by Doug Liman and subsequently Paul Greengrass. You'll observe that Ultimatum received half a star higher than the previous films - does that mean Ultimatum is a better film? At the risk of butchering my own rating system, I'm going to say no. Ultimatum is in many ways much of the same (not that this is a bad thing), but what Ultimatum does is give us the answers we've been pining for, and embodies everything that made the first two films so fantastic in the first place. The first two films were the build-up, throwing more and more questions at us and a few answers here and there, and Ultimatum is the incredibly satisfying, action-packed payoff. Whilst many will disagree (on the grounds that two more books were written, albeit by Eric Van Lustbader rather than Robert Ludlum), I feel that Ultimatum is the natural end to this story, and if we never see another entry into the series, that shows a degree of restraint rarely seen these days, and I respect that.
Thanks for reading,
Reefer
Written for my website (ShaunMunro.co.uk) in case it shows up on search engines, cheers :0)
The Bourne series (comprising of The Bourne Identity and The Bourne Supremacy) has, up to this point, been noted for its intelligent, old-school action pieces, its well-executed plot, and whether you love it or hate it, its violently kinetic camerawork (or "that annoying shaky camera", as some profess to call it).
Ultimatum, the third (and purportedly final) instalment in this wonderfully consistent series seeks to solve the mystery of Jason Bourne's identity, whilst providing audiences with smart thrills-and-spills, and a winding plot that's packed with tension to an almost unbearable, Hitchcockian level. To say that it delivers in all of these aspects is to merely touch the surface, and hardly do this smashmouth rollercoaster-ride of a spy thriller justice.
It has famously been said that act one of a play is "the cat getting up the tree", act two is "what the cat encounters whilst in the tree", and act three is "the cat getting down from the tree". This series in of itself is something of a tripartite-structured play, and in Ultimatum, this crucial, explosive, frenetic third act, Jason Bourne gets down from the tree, and does so kicking and screaming for near enough the entire 115-minute running time.
This globe-trotting adventure (which sees Bourne travel to Paris, London, Madrid, Tangier and back home to New York) continues quite literally where Supremacy left us, although to say too much about this would spoil a surprise regarding the first 80 minutes of the film. In short, the first two thirds of this film will likely leave you thinking "Wait a moment, where does this slot in?", and then you'll have your feet kicked out from under you and soon enough realise quite what's going on. I imagine some people may not enjoy being lead down a path like this, but I felt that it worked, even if it wasn't really necessary.
Supremacy saw Jason Bourne attempting to make amends for his past transgressions as an assassin, and this theme is somewhat recurrent through Ultimatum, although is admittedly overshadowed by Bourne's undying, almost desperate need to know who he is, and how he became this person. Bourne does make amends, but as he finds others able to help his cause, he inadvertently makes them targets also, in one instance resulting in their rather shocking death.
The tense cat-and-mouse game in London introduces us to the latest bureaucrat baying for Bourne's blood - the thoroughly dislikeable CIA official Noah Vosen, played with an appropriate level of slime by David Strathairn, who was more perfect for this role than words can describe, and believe me, that's a compliment. Vosen is heading up the latest incarnation of the infamous Treadstone program, now renamed "Blackbriar", which serves as a means for the CIA to, without recourse, dispatch sleeper assassins to eliminate governmental targets, the current, and most slippery of which is Bourne.
It isn't long before Pamela Landy (Joan Allen) is pulled back into the fold to assist in capturing Bourne, although it becomes clear very quickly that she is the antithesis of Vosen. Vosen wishes to make quick work of Bourne, killing him (and anyone aiding him) and moving on, whilst Landy is opposed to his end-game attitude, and wants to get to the truth. As such, there is an ever-present struggle between Landy and Vosen, one which builds and builds until the immensely satisfying payoff.
It is perhaps more inexorably true in Ultimatum than the previous instalments that no matter what you throw at Bourne, he will take it in his stride, perhaps adjusting a few steps along the way, but he will make it through. One can attempt to outsmart him, but ultimately, Bourne is much smarter than his pursuers, and more incredibly, it doesn't cause him to appear smarmy or unrealistically adept (take note: the last decade's worth of James Bond films, minus Casino Royale). The CIA frequently find important pieces to Bourne's puzzle, but by the time they arrive at them, Bourne has swept through, found what he needs, and simply has to lie in wait to dispatch the next fleet of bad guys sent his way.
An interesting side-note to that, though, is that at one stage, a Blackbriar assassin is able to outsmart Bourne, and Bourne's inability to notice what had been placed before him hinders his progress further, as Bourne near-enough has to return to the drawing board with his only lead expended. Curiously, it appears that whilst the CIA could not stifle Bourne, persons emergent from these shady training programs are the closest thing to Bourne's match.
Be that as it may, Bourne is not without help. Nicky (Julia Stiles) returns once again, initially as Bourne's reluctant cohort, but it soon becomes clear (although is never explicitly stated) that they share a past. Nevertheless, Nicky acts almost as a replacement for Bourne's companion, Marie, from the first two films, although fortunately, things never delve into a ham-fisted love story. Rather, Nicky helps Bourne both tail and evade assassins left and right, using her CIA clearance to do so, although this is at the cost of slowing Bourne down considerably, as she is vulnerable in field operations and requires near-constant protection (as she herself is now a target).
Whether you're a fan of Greengrass' directorial style or not, it cannot be denied that his fight scenes present a brutality, a naturalistic violence that is rarely executed as well or as often as it should be. As Bourne treks across Tangier, he is set on by an assassin, and the two engage in a wildly visceral slug-fest that is about as engrossing as these brawls come. The "meat packing" sounds aren't overdone, both men seem capable of victory, and the fight is messy rather than stagey (they stumble over, grabbing any weapon they can, even if it's a towel), and this all adds up to an absolutely thrilling mano-y-mano contest.
Furthermore, as is de rigueur with this series by now, Ultimatum is complete with a wildly hyperactive car chase, and as per its predecessor, results in a chaotic and insanely violent collision, sending metal flying in all directions. The resultant carnage of this chase actually allows a turn of character development for Bourne - he has become this repentant character who wishes to stop running, and this is reflected in the mercy that he exhibits near the film's close, which in turn may be the smartest decision he ever made. By the film's end, things have come full-circle in a rather clever fashion, and one would not be lambasted for wanting to let out an uproarious cheer, be it for finally getting the answers we've been waiting three films for, because Jason Bourne is such an extremely likable protagonist, or because of the ever-consistent, ever-meticulous filmmaking on display in this trilogy.
The Bourne Ultimatum is the sum of the parts so expertly crafted by Doug Liman and subsequently Paul Greengrass. You'll observe that Ultimatum received half a star higher than the previous films - does that mean Ultimatum is a better film? At the risk of butchering my own rating system, I'm going to say no. Ultimatum is in many ways much of the same (not that this is a bad thing), but what Ultimatum does is give us the answers we've been pining for, and embodies everything that made the first two films so fantastic in the first place. The first two films were the build-up, throwing more and more questions at us and a few answers here and there, and Ultimatum is the incredibly satisfying, action-packed payoff. Whilst many will disagree (on the grounds that two more books were written, albeit by Eric Van Lustbader rather than Robert Ludlum), I feel that Ultimatum is the natural end to this story, and if we never see another entry into the series, that shows a degree of restraint rarely seen these days, and I respect that.
Thanks for reading,
Reefer
The Bourne series (comprising of The Bourne Identity and The Bourne Supremacy) has, up to this point, been noted for its intelligent, old-school action pieces, its well-executed plot, and whether you love it or hate it, its violently kinetic camerawork (or "that annoying shaky camera", as some profess to call it).
Ultimatum, the third (and purportedly final) instalment in this wonderfully consistent series seeks to solve the mystery of Jason Bourne's identity, whilst providing audiences with smart thrills-and-spills, and a winding plot that's packed with tension to an almost unbearable, Hitchcockian level. To say that it delivers in all of these aspects is to merely touch the surface, and hardly do this smashmouth rollercoaster-ride of a spy thriller justice.
It has famously been said that act one of a play is "the cat getting up the tree", act two is "what the cat encounters whilst in the tree", and act three is "the cat getting down from the tree". This series in of itself is something of a tripartite-structured play, and in Ultimatum, this crucial, explosive, frenetic third act, Jason Bourne gets down from the tree, and does so kicking and screaming for near enough the entire 115-minute running time.
This globe-trotting adventure (which sees Bourne travel to Paris, London, Madrid, Tangier and back home to New York) continues quite literally where Supremacy left us, although to say too much about this would spoil a surprise regarding the first 80 minutes of the film. In short, the first two thirds of this film will likely leave you thinking "Wait a moment, where does this slot in?", and then you'll have your feet kicked out from under you and soon enough realise quite what's going on. I imagine some people may not enjoy being lead down a path like this, but I felt that it worked, even if it wasn't really necessary.
Supremacy saw Jason Bourne attempting to make amends for his past transgressions as an assassin, and this theme is somewhat recurrent through Ultimatum, although is admittedly overshadowed by Bourne's undying, almost desperate need to know who he is, and how he became this person. Bourne does make amends, but as he finds others able to help his cause, he inadvertently makes them targets also, in one instance resulting in their rather shocking death.
The tense cat-and-mouse game in London introduces us to the latest bureaucrat baying for Bourne's blood - the thoroughly dislikeable CIA official Noah Vosen, played with an appropriate level of slime by David Strathairn, who was more perfect for this role than words can describe, and believe me, that's a compliment. Vosen is heading up the latest incarnation of the infamous Treadstone program, now renamed "Blackbriar", which serves as a means for the CIA to, without recourse, dispatch sleeper assassins to eliminate governmental targets, the current, and most slippery of which is Bourne.
It isn't long before Pamela Landy (Joan Allen) is pulled back into the fold to assist in capturing Bourne, although it becomes clear very quickly that she is the antithesis of Vosen. Vosen wishes to make quick work of Bourne, killing him (and anyone aiding him) and moving on, whilst Landy is opposed to his end-game attitude, and wants to get to the truth. As such, there is an ever-present struggle between Landy and Vosen, one which builds and builds until the immensely satisfying payoff.
It is perhaps more inexorably true in Ultimatum than the previous instalments that no matter what you throw at Bourne, he will take it in his stride, perhaps adjusting a few steps along the way, but he will make it through. One can attempt to outsmart him, but ultimately, Bourne is much smarter than his pursuers, and more incredibly, it doesn't cause him to appear smarmy or unrealistically adept (take note: the last decade's worth of James Bond films, minus Casino Royale). The CIA frequently find important pieces to Bourne's puzzle, but by the time they arrive at them, Bourne has swept through, found what he needs, and simply has to lie in wait to dispatch the next fleet of bad guys sent his way.
An interesting side-note to that, though, is that at one stage, a Blackbriar assassin is able to outsmart Bourne, and Bourne's inability to notice what had been placed before him hinders his progress further, as Bourne near-enough has to return to the drawing board with his only lead expended. Curiously, it appears that whilst the CIA could not stifle Bourne, persons emergent from these shady training programs are the closest thing to Bourne's match.
Be that as it may, Bourne is not without help. Nicky (Julia Stiles) returns once again, initially as Bourne's reluctant cohort, but it soon becomes clear (although is never explicitly stated) that they share a past. Nevertheless, Nicky acts almost as a replacement for Bourne's companion, Marie, from the first two films, although fortunately, things never delve into a ham-fisted love story. Rather, Nicky helps Bourne both tail and evade assassins left and right, using her CIA clearance to do so, although this is at the cost of slowing Bourne down considerably, as she is vulnerable in field operations and requires near-constant protection (as she herself is now a target).
Whether you're a fan of Greengrass' directorial style or not, it cannot be denied that his fight scenes present a brutality, a naturalistic violence that is rarely executed as well or as often as it should be. As Bourne treks across Tangier, he is set on by an assassin, and the two engage in a wildly visceral slug-fest that is about as engrossing as these brawls come. The "meat packing" sounds aren't overdone, both men seem capable of victory, and the fight is messy rather than stagey (they stumble over, grabbing any weapon they can, even if it's a towel), and this all adds up to an absolutely thrilling mano-y-mano contest.
Furthermore, as is de rigueur with this series by now, Ultimatum is complete with a wildly hyperactive car chase, and as per its predecessor, results in a chaotic and insanely violent collision, sending metal flying in all directions. The resultant carnage of this chase actually allows a turn of character development for Bourne - he has become this repentant character who wishes to stop running, and this is reflected in the mercy that he exhibits near the film's close, which in turn may be the smartest decision he ever made. By the film's end, things have come full-circle in a rather clever fashion, and one would not be lambasted for wanting to let out an uproarious cheer, be it for finally getting the answers we've been waiting three films for, because Jason Bourne is such an extremely likable protagonist, or because of the ever-consistent, ever-meticulous filmmaking on display in this trilogy.
The Bourne Ultimatum is the sum of the parts so expertly crafted by Doug Liman and subsequently Paul Greengrass. You'll observe that Ultimatum received half a star higher than the previous films - does that mean Ultimatum is a better film? At the risk of butchering my own rating system, I'm going to say no. Ultimatum is in many ways much of the same (not that this is a bad thing), but what Ultimatum does is give us the answers we've been pining for, and embodies everything that made the first two films so fantastic in the first place. The first two films were the build-up, throwing more and more questions at us and a few answers here and there, and Ultimatum is the incredibly satisfying, action-packed payoff. Whilst many will disagree (on the grounds that two more books were written, albeit by Eric Van Lustbader rather than Robert Ludlum), I feel that Ultimatum is the natural end to this story, and if we never see another entry into the series, that shows a degree of restraint rarely seen these days, and I respect that.
Thanks for reading,
Reefer
i've seen it its $#!7