The Bourne Ultimatum appears in an aspect ratio of approximately 2.40:1 on this Blu-ray Disc. No problems emerged in this solid transfer.
Sharpness remained positive. At all times, the flick came across as concise and well-defined. I witnessed no signs of jagged edges or shimmering, and edge enhancement seemed to be absent. Source flaws also failed to materialize, as the film always seemed clean.
Ultimatum went with a low-key palette. The movie rarely favored bright tones, as it stayed subdued and stylized. Within those constraints, the colors seemed accurate. This wasn’t a Technicolor extravaganza but I found no fault with the hues as designed. Blacks also seemed more than acceptable, and low-light shots showed nice definition. Overall, this was a very good transfer.
Similar thoughts greeted the strong DTS-HD MA 5.1 soundtrack of Ultimatum. The soundfield took advantage of its opportunities to shine. The action sequences especially opened up the mix to a broad and satisfying degree. They used the surrounds well and formed a fine sense of activity. Quieter sequences created a nice feeling of ambience, and music offered nice stereo imaging.
Audio quality was solid. Speech always sounded natural and concise, and I noticed no signs of edginess or other problems. Music was bright and dynamic, and effects worked well. Those elements seemed clean and accurate, and they presented very nice bass response. This was a fine track that merited a “B+“.
How did this Blu-ray compare to the original DVD? Audio was more robust and immersive, while visuals seemed tighter, better defined and clearer. This was a pretty good step up in quality.
We get all of the DVD’s extras plus some new ones. We start with an audio commentary from director Paul Greengrass. He provides a running, screen-specific chat. Greengrass examines the film’s tempo, story and script choices, locations, stunts and action, cast and performances, editing, inspirations, and the challenges of working in a trilogy.
While Greengrass provides a competent commentary, he never makes the chat better than average. The piece always feels rather dry, and Greengrass often does little more than simply narrate the flick. A mix of decent insights does emerge along the way, so the commentary remains listenable at all times. It just never turns into anything more involving than that.
Eight Deleted Scenes run a total of 12 minutes, 22 seconds. The longest – and best – offers more exploration of the workings at the CIA. I assume it got cut because it was too expository, but I think the film could’ve used it, as it would’ve better expanded the story. We also get a little more narrative with Ross and his source, though that piece doesn’t really add anything. Some of the others bring in additional exposition that may’ve been productive. Other than the opening CIA piece, none of them seem great, but some useful material does emerge here.
Something new to the Blu-ray arrives via Be Bourne Spy Training. It shows film clips than asks you to remember minor details from what you saw. I suck at these games and bombed! Even though I did poorly, I thought it was kind of fun.
Five featurettes follow. Man on the Movie: Jason Bourne lasts 23 minutes, 58 seconds as it mixes movie clips, shots from the set, and comments from Greengrass, producers Frank Marshall, Paul Sandberg and Patrick Crowley, Berlin location manager Marcus Bensch, SnowBusiness’s Lucian Stevenson, stuntman Adam Kirley, 2nd unit director Adam Grayson, visual effects supervisor Charlie Noble, camera operator Klemens , still photographer Jason Boland, UK location manager Sam Breckman, 2nd ADs Tom Brewster and Michael Stevenson, security guard Terry Rigarlsfoid, digital playback Gavin McKenzie, sound mixer Kirk Francis, Morocco location manager Jafar, Morocco line producer Zakaria Alaoui, Morocco unit manager Omar Chraibi, supervising art director Alan Gilmore, Moroccan guide Simo, and actors Matt Damon, Julia Stiles, Paddy Considine, Joey Ansah, Edgar Ramirez, Scott Atkins and Chucky Venice.
“Move” looks at some of the movie’s locations and issues related to their set-up and use. We get an unusually interesting glimpse of set issues here, as we learn about logistical complications and subjects like fake snow and shooting in Morocco during Ramadan. Add to that a lot of nice shots from the sets and this becomes a quality piece.
Next comes the five-minute and 39-second Rooftop Pursuit. It includes remarks from Damon, Greengrass, 2nd unit camera operator Peter Wignall, 2nd unit director Dan Bradley, special effects wire supervisor Jason Leinster, 2nd unit Libra technician Joe Buxton, stunt double David Leitch, stunt coordinator Gary Powell, special effects technician Hayley Williams, and stuntman/JumpCam operator Diz Sharpe. The piece looks at stunts and camera issues involved with the Moroccan chase sequence. Short but sweet, “Pursuit” offers a good glimpse of the complications involved in this scene.
For the four-minute and 59-second Planning the Punches, we hear from Ansah, Damon, fight stunt coordinator Jeff Imada, and breakaway and safety props Thomas Jones.
This one looks at the planning and execution of the fight scene between Bourne and Desh. The behind the scenes footage proves especially interesting, as those elements help make this another useful program.
Driving School fills three minutes, 23 seconds with info from Bradley and Damon. We see Damon’s training for the New York car sequence. The featurette lacks much substance, but it’s fun to see the actor take his spins on the test track.
Finally, New York Chase goes for 10 minutes, 46 seconds and features Damon, Bradley, picture vehicle supervisor Graham Kelly, stunt coordinator-second unit Darrin Prescott and stuntmen Scott Rogers and Kevin Scott. “Chase” shows the filming of the sequence for which Damon trained in the prior featurette. Once again, the footage from the shoot proves the most valuable, as we get some great glimpses of the production issues.
A staple of Universal Blu-rays, U-Control offers four different modes. “Volkswagen Get More Info” tells us about cars, while “Blackbriar Files” shows text statements from field agents.
“Bourne Orientation” lets us see where Bourne is in the world and gives us some context for his status, and “Picture In Picture” mixes footage from the set and soundbites. It offers comments from Greengrass, Damon, Becker, Strathairn, Allen, Stiles, Ramirez, Gilmore, Noble, Sandberg, Atkins, Venice, Ansah, Leitch, Powell, Crowley, Kelly, Considine, Imada, Bradley, Scott, Prescott, Useful Companies crew Adrian Spanna, weapons master Simon Atherton, trains duty master Simon Lewis, train operator Abid Hussein, director of photography Oliver Wood and actor Albert Finney. The notes look at cast and performances, characters and story, sets and locations, stunts and action, effects and camerawork, Greengrass’s approach, and some other notes.
Regard three of the four “U-Control” components as forgettable. “Info” is the worst, as it doesn’t appear until late in the movie, and when it does pop up, it just advertises a Volkswagen product. Its presence is borderline insulting to the viewer.
“Files” and “Orientation” aren’t as noxious, but they’re still not especially useful; they throw in some minor details but don’t do much for me. “Picture” works much better; we get a fair amount of material and learn some good notes. “Picture” is the only component worth your time.
Since The Bourne Ultimatum received good reviews and made lots of money, I’m in the minority, but I don’t find much here to enjoy. The director’s excessive emphasis on shaky camerawork and a relentless pace, the action loses power and actually becomes tedious. Add to that a near absence of story and the movie just plods along without much to truly involve the audience. The Blu-ray provides very good picture and audio along with a collection of generally useful extras. The disc presents the product well, but I can’t say I enjoy the film.
To rate this film, visit the DVD review of THE BOURNE ULTIMATUM