--- title: "The Bourne Ultimatum" year: 2007 kind: "film" canonical: "https://film.one/film/the-bourne-ultimatum" fi1m_score: 85 critics_score: 82 critics_reviews: 18 published: "2026-09-19T10:11:11.905711+00:00" updated: "2026-09-19T10:11:12.388830+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # The Bourne Ultimatum (2007) Directed by Paul Greengrass · 1h 55m · MPA PG-13 · Action, Drama, Mystery, Thriller **Fi1m score: 85** · Critics 82 from 18 reviews *In a sentence:* Bourne outruns the CIA, the Moroccan police and, now and then, the camera operator > Paul Greengrass closes the trilogy with a chase film so lean it barely stops to breathe, and neither did we. There is not much plot beneath the running and the camera sometimes loses its footing, but the Waterloo Station sequence alone earns the evening. ## Synopsis Jason Bourne (Matt Damon), a trained killer who cannot remember who he was, limps out of Moscow wounded, with one aim: to find the people who made him. In London, a journalist, Simon Ross (Paddy Considine), has been told by a source about a CIA programme called Blackbriar. Bourne reads his article and phones him. The call is picked up in New York, where Noah Vosen (David Strathairn) runs a room of screens and orders every camera in Waterloo Station turned on the two men. Pamela Landy (Joan Allen), who has hunted Bourne before, is brought in to advise. In Madrid, Nicky Parsons (Julia Stiles), an analyst who once handled him, finds him again, and the chase moves on to Tangier. ## Review Paul Greengrass took over the series from Doug Liman for [*The Bourne Supremacy*](https://film.one/film/the-bourne-supremacy), and *The Bourne Ultimatum* is his second and the trilogy’s third. Jason Bourne (Matt Damon) still wants to know who turned him into a killer, and the CIA still wants him dead before he finds out. Tony Gilroy, Scott Z. Burns and George Nolfi have written it as one long pursuit through Moscow, London, Madrid, Tangier and New York, with the answers handed out in brief flashes between the running. It is the best of the three, it runs 115 minutes and it wastes none of them. We recommend it with a couple of reservations, which we will come to. The Waterloo Station sequence comes early and is the reason to see the film. A journalist, Simon Ross (Paddy Considine), has written about a programme called Blackbriar. Bourne phones him, the call is picked up in New York, and Noah Vosen (David Strathairn), in a room of screens, orders the station’s cameras turned on both men. What follows is Bourne walking Ross across a crowded concourse by mobile, telling him which way to look and when to stop, while Vosen’s team tracks them and a man with a rifle waits. Christopher Rouse cuts between the three, and Oliver Wood’s camera is in the crowd rather than above it, so we see what Bourne sees a fraction before he does. We did not breathe properly for the whole of it, and when it ended our shoulders were up round our ears. Rouse put them there, because he never cuts to explain, only to keep up. Tangier is the other set piece, a chase over rooftops and through other people’s flats that ends in a bathroom where Bourne fights Desh Bouksani (Joey Ansah) with a hardback book and a towel. It is brutal and short, and when it is over Greengrass holds on Damon’s face, and the look there is shame. Damon has spent three films taking things out of Bourne’s expression, and by now there is almost nothing left but tiredness and a strange politeness. John Powell’s score drives the chases with drums and hurried strings, then drops out entirely when a killing needs to register. Peter Wenham’s production design gives the CIA a windowless New York room of glass partitions and wall screens, where men in shirtsleeves send other men to die by saying so into a headset; most of what the film has to say is in that set. Shay Cunliffe keeps Bourne in a dark jacket and a hood, so he could be anyone in any crowd. Strathairn plays Vosen as a man who has never been wrong in his own hearing and resents the suggestion, and he is a better villain than the film needs. Joan Allen’s Pamela Landy is brought back as the conscience and does much of the job into a telephone. Julia Stiles’s Nicky Parsons is given a line about a past with Bourne that the script then walks away from, and Albert Finney turns up late as Dr. Albert Hirsch and is quietly frightening. The reservations. Underneath the running there is not much plot, and the answer to who Bourne was is roughly the answer you would have guessed. Scott Glenn’s CIA Director Ezra Kramer exists to sign things. The politics amount to a hood over a head and a word like rendition said grimly; the film shows them, moves on, and seems pleased with itself for having shown them. And Wood’s handheld camera, which is right for Waterloo, loses its footing in the New York car chase, where for a stretch we could not have said which vehicle was which. Most critics forgave that more readily than we did. It costs the sequence some of its fear, because you cannot be frightened for a car you cannot find. Set against the series, it is quicker and colder than Liman’s [*The Bourne Identity*](https://film.one/film/the-bourne-identity) and less grieving than *Supremacy*, and it is the one where everything Greengrass had been working at comes off. The Bond films had already changed their manner in response by the time *Casino Royale* arrived, and this is still the leaner of the two. Watch it with the sound up and the lights off, and do not expect to remember the story in the morning. You will remember the station. *Fi1m score 85, published 19 September 2026.* ## What the critics say The reviews are almost unanimous. Most critics find the film relentless and rate it the strongest entry in the trilogy, and the praise gathers around Paul Greengrass’s handheld direction, which they credit with giving the chases and fights an immediacy most action films lack. Matt Damon is singled out nearly everywhere for a Bourne who is both lethal and haunted, and several critics note that the film’s interest in guilt and government paranoia lifts it above standard genre fare. The reservations are minor and scattered. A handful of critics find the plot preposterous or formulaic, though they enjoy the film anyway, and Screen Daily notes that the shaky camera wears thin in some sequences. The spread is narrow: seventeen positive reviews against a single negative. That dissent comes from Slant Magazine, which argues that the stunts and political posturing leave the film technically proficient but empty. ### Reviews we read (18) - **Radio Times**, Alan Jones (5/5): The review lauds the unrelenting pace, dazzling script, Damon's ownership of the role and Greengrass's handheld technique for immediacy and thrills. It calls the film a superbly crafted masterclass in intelligent action filmmaking that never loses grip or credibility. [Read](https://www.radiotimes.com/movie-guide/b-bv9lgk/the-bourne-ultimatum/) - **Empire**, James Dyer (90/100, inferred): The critic praises Greengrass for delivering a more intense and technically proficient sequel than Supremacy, with an unrelenting pace, inventive screenplay and standout action sequences including a frenetic rooftop chase and visceral fight. Damon is highlighted for his convincing portrayal of a vulnerable yet lethal Bourne. [Read](https://www.empireonline.com/movies/reviews/bourne-ultimatum-review/) - **The AV Club**, Scott Tobias (A-): The critic commends the film's continuation of Bourne's character arc and Greengrass's handheld documentary style for delivering grounded realism, breathless chases, and a strong residue of anti-government paranoia within mainstream action cinema. [Read](https://www.avclub.com/the-bourne-ultimatum-1798202895) - **The Hollywood Reporter** (90/100, inferred): The review lauds the film's nonstop nervous energy and inventive chase sequences across global locations, highlighting Matt Damon's Hamlet-like portrayal of Bourne and the sharp intelligence in the screenplay amid the action spectacle. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/bourne-ultimatum-158258/) - **The New York Times**, Manohla Dargis (Critic’s Pick): Dargis calls the film fantastically kinetic and propulsive, with unusually smart action choreography. She singles out Matt Damon's haunted, brooding performance and the series' emphasis on remorse amid the violence. [Read](https://www.nytimes.com/2007/08/03/movies/03bour.html) - **Total Film** (90/100, inferred): The critic lauds the film's jaw-sagging action sequences, smart scripting and larynx-crushing martial arts, noting Greengrass's twitchy shaky-cam style injects the spy thriller with true class. Damon remains full of surprises as Bourne, and the film is commended for refreshing the genre with political edge despite some signs of franchise fatigue. [Read](https://www.gamesradar.com/the-bourne-ultimatum-review/) - **Variety**, Todd McCarthy (90/100, inferred): McCarthy lauds the pounding, pulsating thriller for its sustained energy, tension, and adrenaline surge, crediting Greengrass's skillful use of camera and editing. He highlights the spectacular set pieces and satisfactory resolutions to the series' arcs. [Read](https://variety.com/2007/film/awards/the-bourne-ultimatum-1200557656/) - **The Telegraph**, Sukhdev Sandhu (85/100, inferred): The critic calls it easily the best big-budget movie of the summer and the only action-thriller franchise that actually thrills. He highlights the relentlessly fast-moving pace and political paranoia. [Read](https://www.telegraph.co.uk/culture/film/filmreviews/3667282/Film-reviews-The-Bourne-Ultimatum-and-1208-East-of-Bucharest.html) - **RogerEbert.com**, Roger Ebert (80/100, inferred): Ebert praises the film as a skillful exercise in high-tech effects and stunt work centered on relentless chases. He highlights Matt Damon's convincing portrayal of the driven protagonist despite the preposterous plot elements. [Read](https://www.rogerebert.com/reviews/the-bourne-ultimatum-2007) - **Screen Daily** (80/100, inferred): The review commends the film as a thrilling bookend that pays off Bourne's identity search with slam-bang real-world action and Damon's intense performance. It notes Greengrass keeps the focus personal through crowded settings and character details, though the shaky handheld style can wear thin in some sequences. [Read](https://www.screendaily.com/the-bourne-ultimatum/4033776.article) - **The Guardian**, Peter Bradshaw (80/100, inferred): The critic praises the film as relentlessly ridiculous yet relentlessly enjoyable action mayhem. He singles out the jaw-dropping action sequences and chases directed with frenetic verve by Paul Greengrass. [Read](https://www.theguardian.com/film/2007/aug/17/actionandadventure.mattdamon) - **Time Out**, Ben Walters (4/5): The critic praises the film's gristly handheld action and ethical depth, highlighting the standout Waterloo Station sequence as exhilarating. It delivers as genre spectacle while contrasting with standard action fare through its muddy ethics and shame following killings. [Read](https://www.timeout.com/movies/the-bourne-ultimatum) - **Financial Times**, Martin Hoyle (75/100, inferred): The critic describes a rattling yarn exuberantly told, crunchingly violent but not too sadistic. He singles out the breathless pace and Matt Damon's matured performance as the amnesiac agent. [Read](https://www.ft.com/content/e339feb8-4b52-11dc-861a-0000779fd2ac) - **The New Yorker**, David Denby (75/100, inferred): Denby finds the material formulaic but the most enjoyable current action franchise, praising Greengrass's fragmented, high-speed direction that heightens tension and excitement. He notes the redemptive drama and Damon's physical, instinctive performance. [Read](https://www.newyorker.com/magazine/2007/08/06/war-wounds-2) - **The Times**, Cosmo Landesman (75/100, inferred): The critic finds it pretty remarkable entertainment that delivers visceral thrills of car chases, shoot-outs and fight scenes with energy and inventiveness missing from the spy genre. He notes Bourne's transformation into a Guardian-reading liberal but praises the action. [Read](https://www.thetimes.com/culture/tv-radio/article/the-bourne-ultimatum-the-sunday-times-review-300h09mxj0c) - **Slant Magazine** (40/100, inferred): The review criticizes the film for its high-energy stunts and shaky-cam action that ultimately feel empty and lacking in soul or insight, despite technical proficiency and political posturing. [Read](https://www.slantmagazine.com/film/the-bourne-ultimatum/) - **Eye for Film**, Angus Wolfe Murray (85/100, inferred): The critic praises the film's relentless pace, riveting action sequences across multiple cities, cunning script, disciplined performances and Greengrass's masterful direction. It concludes that the film brings the Bourne trilogy home triumphant. [Read](https://www.eyeforfilm.co.uk/review/the-bourne-ultimatum-film-review-by-angus-wolfe-murray) - **Den of Geek**, Simon Brew (4/5): The critic finds The Bourne Ultimatum terrific and the best threequel remembered, praising Paul Greengrass's direction for its logical, reason-driven action sequences that are thrilling and unHollywood-like. It stands toe-to-toe with Casino Royale as the best in the Bourne saga. [Read](https://www.denofgeek.com/movies/the-bourne-ultimatum-review-2/) ## Details - **Director:** Paul Greengrass - **Director:** Paul Greengrass - **Screenplay:** George Nolfi, Scott Z. Burns, Tony Gilroy - **Novel:** Robert Ludlum - **Cinematography:** Oliver Wood - **Editor:** Christopher Rouse - **Music:** John Powell - **Production design:** Peter Wenham - **Costume design:** Shay Cunliffe - **Producer:** Frank Marshall, Patrick Crowley, Paul Sandberg - **Cast:** Matt Damon as Jason Bourne; Julia Stiles as Nicky Parsons; David Strathairn as Noah Vosen; Scott Glenn as CIA Director Ezra Kramer; Paddy Considine as Simon Ross; Édgar Ramírez as Paz; Albert Finney as Dr. Albert Hirsch; Joan Allen as Pamela Landy - **Runtime:** 1h 55m - **Certificate (MPA):** PG-13 - **Release (the US):** 3 August 2007 - **Genres:** Action, Drama, Mystery, Thriller - **Budget:** $70 million - **Box office:** $443 million ## Where to watch in the US - Starz: streaming - The Roku Channel: add-on, hd, leaving 2026-10-01 - Amazon Prime Video: add-on, uhd - Apple TV: add-on, hd - Amazon Prime Video: rent $3.99, uhd - Apple TV: rent $3.99, hd - Amazon Prime Video: buy $14.99, uhd - Apple TV: buy $14.99, hd *Checked 2026-09-19.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, HK, HR, HU, ID, IE, IN, IS, IT, JP, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, TH, TR, US, ZA. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 2008: Best Film Editing (won); Best Sound (won); Best Sound Editing (won) - BAFTA Film Awards 2008: Best British Film (nominated); Best Direction (nominated); Best Special Visual Effects (nominated); Best Editing (won); Best Sound (won) - MTV Movie Award for Best Fight 2008: MTV Movie Award for Best Fight (nominated) - MTV Movie Award for Best Male Performance 2008: MTV Movie Award for Best Male Performance (nominated) - SAG Awards 2008: Outstanding Performance by a Stunt Ensemble in a Motion Picture (won) - Satellite Award for Best Editing 2007: Satellite Award for Best Editing (nominated) - Satellite Award for Best Sound 2007: Satellite Award for Best Sound (won) - Satellite Award for Best Visual Effects 2007: Satellite Award for Best Visual Effects (nominated) ## If you liked this - *Three Days of the Condor* (1975), Fi1m 80: The CIA hunting one of its own, at seventies walking pace, with Redford. — [Fi1m page](https://film.one/film/three-days-of-the-condor.md) - *Le Samouraï* (1967): A silent professional followed through Paris; the hood before there were hoods. - *The French Connection* (1971), Fi1m 85: The car chase everyone else has been copying, shot as if by accident. — [Fi1m page](https://film.one/film/the-french-connection.md) - *The Raid* (2011), Fi1m 83: One building, no plot, and fights that make the Tangier bathroom look polite. — [Fi1m page](https://film.one/film/the-raid.md) - *Casino Royale* (2006), Fi1m 86: Bond after he had watched Bourne and decided to lose the gadgets. — [Fi1m page](https://film.one/film/casino-royale.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-bourne-ultimatum