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By David Denby August 13, 2012

ABSTRACT: THE CURRENT CINEMA review of “The Bourne Legacy” and “Red Hook Summer.” In “The Bourne Legacy,” the screenwriter and director Tony Gilroy has given additional life to the Bourne franchise by coming up with a new running man, Aaron Cross (Jeremy Renner). Like Bourne, he’s very quick: his body moves faster than our thoughts—he’s always surprising us. After “The Bourne Ultimatum,” director Paul Greengrass walked away, taking Matt Damon with him. The task of keeping the franchise alive fell to Gilroy, who worked on the earlier movies as a screenwriter, and who wrote the new film with his brother, Dan, and directed it. In the new movie, Bourne’s revelations about secret C.I.A. operations Treadstone and Blackbriar threaten still another clandestine program, called Outcome, which is not run by the C.I.A., but some retired military men, including Turso (Stacy Keach) and Byer (Edward Norton). Outcome has been fabulously successful, but its usefulness will end if the public finds out about it. So Turso and Byer decide to terminate the program immediately in order to save it for the long run, which requires murdering all the current agents, including Cross. The new movie continues the “Bourne” tradition of exciting, reality-based thrillers, but when the series lost its star it lost most of its soul. Spike Lee’s new Brooklyn-set film, “Red Hook Summer,” which is about a boy from Atlanta who spends the hot months with his grandfather, is a clear failure, yet Lee is getting at things that mystify him. He celebrates the intense joy that religion brings to the community—and seems to be asking at the same time whether repeated, emotionally overwhelming professions of faith don’t reconcile people to stasis and failure. It’s a bitter question, but not many people working in movies would have the courage even to pose it.

Read more http://www.newyorker.com/arts/critics/cinema/2012/08/13/120813crci_cinema_denby#ixzz24Ii9kFDI

 

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