Back when we learned that Matt Damon would appear in Robert Ludlum’s The Bourne Identity, many folks snickered. The concept of Damon as action hero seemed far-fetched, so the film’s prospects didn’t appear promising.

No one’s laughing anymore. Identity earned a pretty good $121 million, a figure strong enough to greenlight 2004’s The Bourne Supremacy.

That movie went on to improve on its predecessor’s take with a US gross of $176 million. Of course, the increasing financial success of the series led to a third chapter, 2007’s The Bourne Ultimatum - and even more money. Ultimatum proved to be the biggest hit of the bunch with its $227 million gross.

Ultimatum essentially picks up on the same story pursued in the first two flicks, as super-skilled operative/assassin Jason Bourne (Damon) tries to learn the secrets of his mysterious past – and take revenge on those who messed him up along the way. The folks at the CIA who trained him don’t want this to happen, so they and other hush-hush organizations attempt to impede his progress.

And there’s your story! After the first flick, the two subsequent Bourne adventures weren’t exactly been heavy on plot, and even Identity dealt more with back story rather than actual narrative. I think Ultimatum suffers most from the absence of an actual story, as it starts to feel like a really, really long episode of The Fugitive.

This will probably fall in the “beating a dead horse” category, as I and others often moan about director Paul Greengrass’s love for jittery hand-held camera work. This isn’t merely a stylistic gripe - it’s a physical complaint, for on the big screen, this material can cause motion sickness.

That’s why I’ll never see another Greengrass flick anywhere other than in my home theater. After the headaches and nausea of Supremacy and United 93, I cried “uncle” and conceded defeat.

But Greengrass’s photography doesn’t nauseate me when rendered smaller, so my stomach can handle these flicks at home. Even without the sickness, however, I find myself dissatisfied with the shakycam.

I’m not a fan of lots of handheld work period, as I think the “documentary style” is often just a cheap storytelling device. Directors not clever enough to bring immediacy to their work use handheld shots to create that fake “realism” ala a documentary.

As I watched Ultimatum, I just wanted to scream “enough already!” The technique works acceptably well during the more active sequences, but it serves as nothing more than an annoyance and a distraction most of the time.

The lack of restraint is the main issue. Since Greengrass plays the whole film at full tilt, it has nowhere to go.

Which means the action scenes lose the needed sense of urgency. Too much of Ultimatum plays like a climax, so the audience gets no time to rest and the big action pieces become just part of the scenery.

The constant emphasis on urgency and movement ironically robs the flick of those feelings. The scenes that should involve us just feel like part of the scenery.

I really want to like these Bourne films, and I go into each one with high hopes, but after the satisfying Identity, they never live up to expectations. In the hands of director Paul Greengrass, they exhibit lots of sturm und drang with little actual tension or excitement.

The Bourne Ultimatum appears in an aspect ratio of approximately 2.40:1 on this 4K UHD Disc. No real problems emerged in this solid transfer.

Sharpness remained positive. Outside of a smidgen of softness in some wider shots, this felt like an accurate, precise presentation.

I witnessed no signs of jagged edges or shimmering, and edge enhancement seemed to be absent. Source flaws also failed to materialize, as the film always seemed clean, and with a light layer of grain, I suspected no egregious noise reduction.

Ultimatum went with a low-key palette. The movie rarely favored bright tones, as it stayed subdued and stylized, with an emphasis on mild teal and amber/orange.

Within those constraints, the colors seemed accurate. This wasn’t a Technicolor extravaganza but I found no fault with the hues as designed, and the disc’s HDR added some clarity to the tones.

Blacks also seemed deep, and low-light shots showed nice definition. HDR brought extra impact to whites and contrast. Overall, this was a very good transfer.

Similar thoughts greeted the strong DTS X soundtrack of Ultimatum. Downconverted to DTS-HD MA 7.1, the soundfield took advantage of its opportunities to shine.

The action sequences especially opened up the mix to a broad and satisfying degree. They used the surrounds well and formed a fine sense of activity. Quieter sequences created a nice feeling of ambience, and music offered nice stereo imaging.

Audio quality was solid. Speech always sounded natural and concise, and I noticed no signs of edginess or other problems. Music was bright and dynamic, and effects worked well.

Those elements seemed clean and accurate, and they presented very nice bass response. This was a fine track that merited a “B+“.

How did this 4K UHD compare to the Blu-ray version? The DTS X audio felt a little more robust and immersive.

As for visuals, they showed a moderate format-related boost, as the 4K brought somewhat superior definition, colors and blacks. The nature of the source restricted growth potential, but the 4K became the more satisfying representation – and a nice step up from the lackluster transfers found with the two prior Bourne movies.

In terms of extras, the 4K disc includes an audio commentary from director Paul Greengrass. He provides a running, screen-specific chat. Greengrass examines the film’s tempo, story and script choices, locations, stunts and action, cast and performances, editing, inspirations, and the challenges of working in a trilogy.

While Greengrass provides a competent commentary, he never makes the chat better than average. The piece always feels rather dry, and Greengrass often does little more than simply narrate the flick.

A mix of decent insights emerges along the way, so the commentary remains listenable at all times. It just never turns into anything more involving than that.

The remaining extras appear on the included Blu-ray copy, and eight Deleted Scenes run a total of 12 minutes, 22 seconds. The longest – and best – offers more exploration of the workings at the CIA. I assume it got cut because it was too expository, but I think the film could’ve used it, as it would’ve better expanded the story.

We also get a little more narrative with Ross and his source, though that piece doesn’t really add anything. Some of the others bring in additional exposition that may’ve been productive. Other than the opening CIA piece, none of them seem great, but some useful material does emerge here.

Something new to the Blu-ray arrives via Be Bourne Spy Training. It shows film clips than asks you to remember minor details from what you saw.

I suck at these games and bombed! Even though I did poorly, I thought it was kind of fun.

Five featurettes follow. Man on the Movie: Jason Bourne lasts 23 minutes, 58 seconds as it offers comments from Greengrass, producers Frank Marshall, Paul Sandberg and Patrick Crowley, Berlin location manager Marcus Bensch, SnowBusiness’s Lucian Stevenson, stuntman Adam Kirley, 2nd unit director Adam Grayson, visual effects supervisor Charlie Noble, camera operator Klemens , still photographer Jason Boland, UK location manager Sam Breckman, 2nd ADs Tom Brewster and Michael Stevenson, security guard Terry Rigarlsfoid, digital playback Gavin McKenzie, sound mixer Kirk Francis, Morocco location manager Jafar, Morocco line producer Zakaria Alaoui, Morocco unit manager Omar Chraibi, supervising art director Alan Gilmore, Moroccan guide Simo, and actors Matt Damon, Julia Stiles, Paddy Considine, Joey Ansah, Edgar Ramirez, Scott Atkins and Chucky Venice.

“Move” looks at some of the movie’s locations and issues related to their set-up and use. We get an unusually interesting glimpse of set issues here, as we learn about logistical complications and subjects like fake snow and shooting in Morocco during Ramadan. Add to that a lot of nice shots from the sets and this becomes a quality piece.

Next comes the five-minute and 39-second Rooftop Pursuit. It includes remarks from Damon, Greengrass, 2nd unit camera operator Peter Wignall, 2nd unit director Dan Bradley, special effects wire supervisor Jason Leinster, 2nd unit Libra technician Joe Buxton, stunt double David Leitch, stunt coordinator Gary Powell, special effects technician Hayley Williams, and stuntman/JumpCam operator Diz Sharpe.

The piece looks at stunts and camera issues involved with the Moroccan chase sequence. Short but sweet, “Pursuit” offers a good glimpse of the complications involved in this scene.

For the four-minute and 59-second Planning the Punches, we hear from Ansah, Damon, fight stunt coordinator Jeff Imada, and breakaway and safety props Thomas Jones.

This one looks at the planning and execution of the fight scene between Bourne and Desh. The behind the scenes footage proves especially interesting, as those elements help make this another useful program.

Driving School fills three minutes, 23 seconds with info from Bradley and Damon. We see Damon’s training for the New York car sequence. The featurette lacks much substance, but it’s fun to see the actor take his spins on the test track.

Finally, New York Chase goes for 10 minutes, 46 seconds and features Damon, Bradley, picture vehicle supervisor Graham Kelly, stunt coordinator-second unit Darrin Prescott and stuntmen Scott Rogers and Kevin Scott.

“Chase” shows the filming of the sequence for which Damon trained in the prior featurette. Once again, the footage from the shoot proves the most valuable, as we get some great glimpses of the production issues.

A staple of Universal Blu-rays, U-Control offers four different modes. “Volkswagen Get More Info” tells us about cars, while “Blackbriar Files” shows text statements from field agents.

“Bourne Orientation” lets us see where Bourne is in the world and gives us some context for his status, and “Picture In Picture” mixes footage from the set and soundbites. It offers comments from Greengrass, Damon, Becker, Strathairn, Allen, Stiles, Ramirez, Gilmore, Noble, Sandberg, Atkins, Venice, Ansah, Leitch, Powell, Crowley, Kelly, Considine, Imada, Bradley, Scott, Prescott, Useful Companies crew Adrian Spanna, weapons master Simon Atherton, trains duty master Simon Lewis, train operator Abid Hussein, director of photography Oliver Wood and actor Albert Finney.

The notes look at cast and performances, characters and story, sets and locations, stunts and action, effects and camerawork, Greengrass’s approach, and some other notes.

Regard three of the four “U-Control” components as forgettable. “Info” is the worst, as it doesn’t appear until late in the movie, and when it does pop up, it just advertises a Volkswagen product. Its presence is borderline insulting to the viewer.

“Files” and “Orientation” aren’t as noxious, but they’re still not especially useful; they throw in some minor details but don’t do much for me. “Picture” works much better, as we get a fair amount of material and learn some good notes. “Picture” is the only component worth your time.

Since The Bourne Ultimatum received good reviews and made lots of money, I’m in the minority, but I don’t find much here to enjoy. The director’s excessive emphasis on shaky camerawork and a relentless pace, the action loses power and actually becomes tedious. Add to that a near absence of story and the movie just plods along without much to truly involve the audience. The 4K UHD provides very good picture and audio along with a collection of generally useful extras. The disc presents the product well, but I can’t say I enjoy the film.

To rate this film, visit the DVD review of THE BOURNE ULTIMATUM