He’s back, baby. God it’s so good to see Jason Bourne doing his thing on the big screen again, especially in a flick that’s every bit as excellent as the original trilogy in all the old, good ways, while adding a few twists of its own that suit the digital age we have progressed into, and the concerns which go hand in hand with it. It’s been sometime since Jason swam away out of frame as an unsure news report claimed that his body was never recovered, and a slow smirk spread over Nicky Parson’s (Julia Stiles) face as she observed on TV. With ex CIA director Kramer (Scott Glenn) no doubt incarcerated, the agency is headed up by the worst apple of the bunch so far, Robert Dewey (Tommy Lee Jones), a surveillance hound dog who has ties to Bourne’s past and wants to use a record breaking social media app to illegally spy on users for ‘national security’ purposes (heard that one before). Scary stuff, but simply a backdrop for Bourne to come speeding back onto their radar and make hell for them, after Nicky hacks the database and spurs him on. Damon is beefed up, weathered and has never been more furious as Bourne, and if you thought his revenge rampage in Supremacy was something to behold, just wait til you see these fireworks. It feels a bit more intimate than the last three, with a lot of time spent on Bourne, and less agency types howling in control rooms and backstabbing each other, save for Dewey and his eager beaver protégé Heather Lee, played by Alicia Vikander in a slightly perplexing character arc that I’m still trying to think through. She has her own agenda, clashing with that of a ruthless rogue asset (Vincent Cassel is going grey, but damn he can still run around like nobody’s business) that Dewey foolishly sends after Jason. Paul Greengrass is back in the director’s chair again, and after this chapter I can honestly say I think he’s the best captain to ever sit at the helm of a Bourne flick. He just has this way with action that never feels too stylized or obviously cinematic, while still delivering a pure rush of thrills that exist in a realistic space. There’s an early scene taking place in Greece during a dangerous riot that feels like they just dropped the cast and crew in the midst of a real life police skirmish and started shooting, in more ways than one. My favourite has to be a thundering car chase down the Vegas Strip in which a SWAT tank causes a jaw dropping bout of vehicular Armageddon. Sounds too over the top for a Bourne flick, right? You’d think, but somehow they just make the thing work and stay within the parameters of this world. I had this fear that they wouldn’t be able sneak another Bourne movie onto the back end of an already perfect trilogy without it feeling out of place. While it certainly is different than it’s predecessors (we live in a radically different time), it still has that magic, feverish rush that I love so much and that has carried the franchise along on wings of adrenaline. A blast. Cue Moby’s Extreme Ways to play out my review.