Entries in mission impossible (2)


The Bourne Legacy Trailer is HOT!

So by now, everyone should know I'm a movie fanatic, right? Marvel's The Avengers put me over the top when I took that feast in (cinematic greatness, folks). Heroism, action set pieces, thrills, spills, double dealings, a bit of romance, you name it, it had it. Well, after seeing The Hurt Locker a while back, I instantly became a huge Jeremy Renner fan, and I've followed his career path ever since. Not only is he the current go to guy for action, he's figuring into the tailored espionage slot to the point of typecasting and oversaturation, but who's complaining. After co-headlining Mission Impossible: Ghost Protocol, the man is now the current replacement or stand-in for Matt Damon's Bourne franchise.

It seems from the above trailer that the events in Legacy coincide with those of the previous Bourne film, Ultimatum, hence Damon's mug on the news feeds and references to him being in Manhattan. Aaron Cross, played by Renner, is another Treadstone agent we're introduced to, one is apparently running for his life following the public exposure of Treadstone via Jason Bourne. This forces Ed Norton's character to put out a kill directive on all remaining Treadstone agents, thus begins the current action in Legacy, which strikes me as something out of a Roger Vallon Kill Factor book. Looks quite thrilling.


Espionage and Storytelling

I love spy fiilms, there's no secret about that. But the exectuion of such films is sometimes wanting, but I end up struggling through many a half-hearted tale regardless. I recently got a chance to see Tom Cruise's Missle Impossible: Ghost Protocol and was pleasantly surprised by how it turned out, though it was a bit long and dragged out in spots, particularly after the Dubai scene, where I believe the film should have ended (blame 711 Press for my new outlook on effective and streamlined storytelling). The Bourne films (the first three, to be precise) are another matter altogether. Those films epitomize not only spy fiction but storytelling in general.

When I approach my own Kill Factor spy series, I have all of these things in mind, but I don't write from a technical standpoint, with paint-by-numbers restrictions or the like. Storytelling should be fluid and natural in its unfolding. Many times Hollywood movies feel like committee efforts, as though they went through a hundred pair of hands before landing in front of your eyes. Stories should be as personal and seamless as possible; for my money, those are generally the most impacting ones.

- R. Vallon