Jason Bourne is in a foreign country doing things that guys do when they have manpain. He just wants to be left alone. Then a shadowy part of the US government, headed by [old white guy] decides to do something sketchy that sets up the overly convoluted B-plot and also decides that this time he is going to get Jason Bourne. [competent female character] who assisted Bourne in the previous movie, has something important to tell him. Just then a government hit squad shows up and chases Bourne and [competent female character] through [country that has been in the news recently enough that American audiences might recognize it]. Bourne is about to get away before the government spooks kill [competent female character] in front of him.
Now Jason Bourne is really peeved. Bourne embarks on a path of revenge and self-discovery in which he cleverly avoids the shadowy government agents while the familiar score by John Powell and David Buckley plays. [new competent female character], a government agent introduced slightly earlier in the movie as helping out [old white guy], gets put in charge of running the op to capture Bourne. Because gosh darnit, this time they are going to get Bourne to come in. For really reals.
Some stuff happens with the B-plot, which involves [current buzzwords such as “social media” and “privacy” or maybe “kale”]. No one really cares, because the B-plot is overly complex and poorly explained, and really just exists to get [old white guy] into a position where Bourne can foil his plot, confront him, and then shoot him.
Afterwards, Bourne finds out a little bit more about his past and gets in a fight with [agent from yet another secret government program that no one has heard of before now], who wants to murder Bourne because he has been ordered to do so and also maybe because murdering Jason Bourne sounds like a great way to spend an evening. There is an extended car chase, things blow up, and Jason Bourne limps away with his newly acquired [information about his past that is still not quite enough] while his opponent does not.
[new competent female character] attempts to contact him, and Bourne lets her know that he has been stalking her, only it’s cool instead of creepy because he’s an ex-spook rather than a sexual predator, and that he would really please like to be left alone this time. Or else. He means it.
A new remix of Moby’s Extreme Ways starts to play. Roll credits.
I can’t say I’m sorry I missed Jason Bourne in theaters. It wasn’t bad bad, just very formulaic, and it felt like most of the actors were kind of going through the motions because we already did three of these movies with Matt Damon and thought we were done. Also, I had a hell of a time understanding Alicia Vikander (new competent female character) every time she was on screen. But hey, things blew up and people got shot, which is really what we’ve come to expect.
On the other hand, this film gave me a new appreciation for The Bourne Legacy, which we watched after we were done. At the time, I remembering being a bit disappointed in it, but the only one of my original complaints I’m still holding on to is the bit about LARX-3. I really wish they’d made a second Aaron Cross movie instead of dragging Jason Bourne out again and try to fresh him up with eau de daddy angst.