“Supremacy” is a sequel to one of the best super-agent movies “The Bourne Identity”. Matt Damon is back in the same role but this time his memory induced mission is less vivid and engrossing.
The movie starts with a quite tedious car chase as Bourne has to run from his past again, leaving his hiding place behind. Right here the main plot-line kicks in: Jason makes a Eurotrip once more, running and occasionally gunning, visiting Moscow as a bonus(a great use of Russian machinery there, by the way).
This time the side that is supposed to bring the agent down is led by Pamela Landy(Joan Allen) and our old friend Ward Abbot(Brian Cox). The former is more flexible than the latter, though, showing some will to reconsider Bourne’s role in all that’s happening. The action is, frankly, not nearly as intense as in the first flick of the trilogy: the pace here isn’t preserved on the same towering level as it is in “Identity”, but makes huge leaps up and down, slowly building up to its climax, which occurs almost in the very end of the presentation.
Don’t get me wrong, Bourne is still the same jack of all trades kind of operative who gets into cars as nifty as Nicholas Cage in “Gone in 60 Seconds” and disappears from the sights of various hostile squads as quickly and as deft as Christian Bale in “Dark Knight” while not looking awfully quixotic and maintaining the same steely face expression of a complete shut-in of a man; this feature is orthodoxly delivered by Matt Damon. There are even small pleasant additions, such as Julia Stiles given more screen time as Nicky, being quite relevant in comparison with the first movie, and Karl Urban playing a role of a Russian assassin Kirill, which grants him participation in the most fast-rolling scene of the flick, but bearing an expression of utterly dull concentration for his entire time in a shot and speaking half-broken Russian; just mentioned subtle improvements are not enough to diminish the fact that the plot is much too hefty in the second installment of Bourne’s adventures for it to be perceived as comfortably as “Identity” was and neglect the feeling that this part of Matt Damon’s hide-and-seek-ish venture is crammed in a tiny box with one extremely narrow way out, that he finds out about in the finale and hurtles through it, mindlessly.