Tag Archives: Tony Gilroy

The Bourne Legacy Adds New Dimensions to the Series!

JEREMY RENNER and RACHEL WEISZ star in the next chapter of the hugely popular espionage franchise that has earned almost $1 billion at the global box office: "The Bourne Legacy".  Writer/director Tony Gilroy expands the "Bourne" universe created by Robert Ludlum with an original story that introduces us to a new hero (Renner) whose life-or-death stakes have been triggered by the events of the first three films.

Between its excellent cast and a unique way to add to the Bourne series, The Bourne Legacy both brings new depth to the original trilogy and adds new intrigues to the mix.

The shadow of Matt Damon’s Jason Bourne haunts the proceedings in The Bourne Legacy as co-writer/director Tony Gilroy reveals that Treadstone, the clandestine operation that created Bourne, was just the tip of the iceberg.

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MOVIE REVIEW: Duplicity – Kickin’ [Corporate] Espionage Old School!

Espionage movies usually deal with state secrets and impeccably dressed spies; state secrets and dishevelled spies, or grim, dark corporate espionage. Tony Gilroy’s Duplicity harkens back to movies like Charade and North By Northwest, in which intelligence wit and charm are as important as guns. In fact, there are no guns in Duplicity.

Duplicity

Gilroy’s male and female leads – Ray Koval [Clive Owen] and Claire Stenwicke [Julia Roberts] – are, respectively, ex-MI6 and ex-CIA operatives now working in corporate espionage for two major companies and may [or may not] be trying to screw each other over as they try to figure out what major breakthrough might be about to make the news. The two corporations are run by old school titan of industry, Howard Tully [Tom Wilkinson] and Dick Garsik [Paul Giamatti], whose style is more piratical.

Duplicity demands a certain amount of attention to detail. The script is smart and filled with seeming double, triple and [potentially] quadruple-crosses. Literally none of the characters is stupid, and this time Gilroy pulls it off [unlike with Michael Clayton, where one brief moment of idiot plotting destroyed the whole film].

Owen and Roberts get to dish out some witty dialogue; develop a strange [and maybe false] relationship over the course of the film which is structured in both the past and the present – each arc developing chronologically until the very end, when there’s a revelation that makes sense even as it dumbfounds. Wilkinson and Giamatti give their usual excellent performances and Gilroy’s direction reminds of Stanley Donen [Charade]. He propels the film at a pace that only seems leisurely, and uses a four-way split screen to establish locations in much less time than might otherwise be needed.

The one thing about Duplicity that might have been better [and this is just a weird thought that I had during the closing credits] would be to have cast Giamatti and Wilkinson in each other’s roles. As it is, though, the film is grand, smart fun, and that makes it a winner.

Final Grade: A-