In a world of constantly changing political and social tides -- post-9/11, post-Cold War, post-everything -- Jason Bourne is something of a comfort. As played so marvelously by Matt Damon in THE BOURNE SUPREMACY, the latest installment of the spy thriller franchise that bears his name, Jason Bourne is a buffed-up, kick-ass version of our modern collective consciousness: confused and anxious regarding his place in the world, battling corrupt government officials and vaguely defined threats to his well-being, desperately seeking truth and, most importantly, a sense of self. Who among us cannot empathize with his plight? The world has turned into a big scary place, and Jason, like all of us, is struggling to make his way in it.

Except that Bourne, a former U.S. assassin, is hardly run of the mill. After battling the initial shock of amnesia in Doug Liman's excellent film The Bourne Identity, Jason turns the tables in SUPREMACY, the best thriller of the year. Grippingly directed by Paul Greengrass (Bloody Sunday), the new film dances on the cool edge of its predecessor: same European settings, same blue-gray hues, same steely performances. But freed of the burden of exposition, THE BOURNE SUPREMACY jumps into high action, providing nearly non-stop suspense and excitement. Smart as a whip but still popcorn entertainment, THE BOURNE SUPREMACY is superbly entertaining for action fans or serious filmgoers. In short, it is the summer blockbuster we've all been waiting for.

There's a gritty insouciance in Jason Bourne's universe, one that recalls classics of the genre like The French Connection and The Conversation. That casually grim surface, however, belies the palpable tension underneath, a tension that director Greengrass has no qualms about exploring; while THE BOURNE SUPREMACY lacks the crisply elegant storytelling of its predecessor, it makes up for it in dynamism and drive. Jittery hand-held camera work adds immediacy to every moment, putting the viewer uncomfortably close to the action...a Hollywood variation on cinema verite. The fight and chase sequences are magnificent and pulse-pounding, orchestrated with finesse and intimacy. The final automobile chase, in particular, is one of the best ever committed to celluloid.

Despite its frenzied atmosphere, however, Greengrass never lets the film careen out of control. In the first Bourne film, director Liman leaned on the dialogue-heavy relationship with Marie (Franke Potente) to flesh out the story and build character. In this sequel, however, Greengrass has few such moments -- Damon has exceptionally long sequences where he does not speak at all, and must let the audience into his thoughts using only his eyes and thin-lipped grimace. These moments serve to balance and temper the film's jumpy, fevered pace, giving sections of THE BOURNE SUPREMACY a rhythmic economy that is simply unheard of in American filmmaking. In an action film, it is a most magnificent achievement.

Much of the success of THE BOURNE SUPREMACY and its predecessor are due to Matt Damon, who finds in Jason Bourne a near-perfect marriage of actor to role. Damon is a much better performer than his reputation might indicate, but a closer look at his resume -- one that includes The Talented Mr. Ripley, Gerry, Courage Under Fire, All The Pretty Horses and Good Will Hunting -- reveals a man willing to push his abilities to the limit. As Bourne, Damon is capable of flipping instantly from emotion to emotion, one minute a confused young man, the second an impeccably trained killing machine. Ultimately, the story of Bourne is a quest, and Damon never forgets it. Despite all the incredibly cool techno-gadgetry and last-minute switcheroos, THE BOURNE SUPREMACY retains its humanity and its heart through Damon's astonishing performance.

Greengrass has an eye for casting as well, keeping many of the best players of the first film -- Potente (Run Lola Run) as the patient girlfriend Marie, Julia Stiles (The Business of Strangers) as the young operative Nicky, and 25th Hour veteran Brian Cox's devious department chief Abbott -- while casting the new roles with grade-A talent. Chief among them is Joan Allen (Nixon) as Pamela Landy, the new CIA chief on Bourne's trail. Allen strikes just the right balance of indignation and professionalism to keep the film powering onward. In Bourne's world, there are few absolutes, especially when talking of good and evil...and Allen, a masterful performer, knows how to be both at the same time. Aware that sequel audiences expect a mix of the familiar and the new, Greengrass has smartly kept The Bourne Identity's visual team onboard, including cinematographer Oliver Wood and editor Christopher Rouse (who is joined this time out by Richard Pearson), all of whom keep Jason's world vibrant and alive.

What may be most affecting, however, about THE BOURNE SUPREMACY is its subtle politic -- the obsolescence of intelligence and the redundancy of the operatives those infrastructures created during the Cold War. Jason Bourne is an anomaly in the counterintelligence field, certainly, but he's also an anachronism, leftover detritus of an era that suddenly vanished. Whether intended as such or not, the amnesiac spy is the perfect metaphor for our 21st century world. The spy game is not the same, because the playing field shifted; the rules have irrevocably changed. And Jason, caught in the middle of it all, just wants to find his way home again. Don't we wish we could find it, too?

-- Gabriel Shanks