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(4) In this case the style achieves a visceral impact, but at the cost of coherence and spatial orientation.It may also serve to hide plot holes and make preposterous stunts seem less so.The device of gradually filling in the central trauma goes back to film noir, I think, and provides the central mysteries in Hitchcock’s , who remarks: There are rules and expectations of each genre, which is nice because you can go in and consciously meet them, or upend them, and we like it either way.Upend our expectations and we love it—though it’s harder—or meet them and we’re cool with it because that’s all we really wanted that night at the movies anyway.Mixed into the films is another long-standing device, the protagonist plagued by a nagging suppressed memory.Developing in tandem with the external action, the fragmentary flashbacks tease us and him until at a climactic moment we learn the source: in , his first kill and his recognition of how he came to be an assassin.(2) The style achieves its effect through particular techniques, chiefly camerawork, editing, and sound.

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Add in DVD and other ancillaries, and we have what’s likely to be a - billion franchise.

There’s every reason to believe that the success of the series, plus the critical buzz surrounding the third installment, will encourage others to imitate Paul Greengrass’s run-and-gun style.

In an earlier blog, I tried to show that despite Greengrass’s claims and those of critics: (1) The style isn’t original or unique.

We get titles announcing “Moscow, Russia” and “Paris, France.” You can poke fun at lines of dialogue like “What connects the dots?

” and “You better get yourself a good lawyer” and the old standby “What are you doing here? Good films can have clunky dialogue, and you don’t expect Oscar Wilde backchat in an action movie.