[...] for half the scene, the viewer has no idea which of the two guys is Bourne and which is the assassin, because the camera is close and shaky and the cutting is so fast that it’s impossible to tell the difference between Matt Damon and Vincent Cassel. [...] its camera work, possibly intended to distract audiences from the movie’s flaws, only compounds its problems. Director Paul Greengrass has been heading in this direction — that of a smeary, photographic impressionism — for a while now, and he has had some successes along the way. Even worse, the camera work in “Jason Bourne” bespeaks a misperception of the action, an imposition of technique that ignores what’s going on between the characters in favor of some jittery, ongoing cinematographic freak out. In this latest installment, Bourne is still very upset about what happened to him, that he lost his personal identity and was turned into a killing machine by the CIA. In the movie’s first moments, a friend of Bourne (Julie Stiles) hacks the government system and downloads all the Black Ops files. [...] the government is worried about another Edward Snowden situation and sets out to kill Bourne and his friend. The government in this case is embodied by Tommy Lee Jones, as the ruthless CIA director, and Alicia Vikander as Heather, who is in charge of the CIA computer systems. Much of the first hour of “Jason Bourne” is spent with Jones and Vikander standing in a room full of computers and monitors, communicating with agents or assassins who are trying to kill Bourne, who is, as always, on the other side of the world. The movie tries to find some emotional connection between Bourne and Heather, but the two characters barely interact, and Heather’s motives are mixed.

 

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