Nick Cave wrote the score but Taylor Sheridan wrote the script. Brilliant music supporting average screenwriting. It is really that simple. Sheridan’s uncanny ability to write poor roles portrayed by excellent actors is well documented, at least here on Film Clas (see Sicario).

We are privy to the difference between Toby (Pine) and Tanner (Foster) from the first heist as the dichotomous brothers wrangle over methods. Tanner is the rash ex-con and Toby needs the cash. We are peppered with debt relief propaganda as this Robin Hood-esque venture boils down to a middle finger to the banks threatening to foreclose their family’s land. Gosh, so much potential squandered.

I never felt any empathy for either of the brothers. In fact, I disliked both of them.

Marcus Hamilton (Bridges), the tired and reluctantly retiring Texas Ranger who seemingly speaks through a trumpet mute and trades insults with his Mexican/Native American partner (Birmingham), rejuvenates the film in spots. He adds a panache the film grasps for by shear perseverance and nerve.

The Howard Brothers run amuck with poor planning and muddled escape routes to rob only 2.9 napkins out of 5, reminding us that disappointing films are more unfortunate than poor films.

Ben Cash (Viggo), ironically named as he mocks capitalism or daftly named after the musical outlaw, Johnny, is our partially reluctant yet somewhat eager protagonist. And he absolutely prevails with humor, attitude and humility.

Early in the film, the camera zooms away to show Ben with all six kids stuck to the side of an enormous rock face. This one frame allows brilliant insight into the will he has instilled. He has them reading constantly, running everywhere and challenging everything from themselves to Christmas. And they are awesome and intellectual and well trained in game hunting. However, clever as they may be, they’re raised differently and this notion, when it presents itself, is just as challenging as holding “plank” position.

The message, for me, is that conventional and abstract are a matter of perspective.

The film lacks tacky and overthought justification dialogues, the likes of which would have been truly detrimental. Ben’s ability, through great writing, to not sugarcoat and be extremely forthright is a pillar of the film’s disposition.

With an ending filled with resolution and tribute, Captain Fantastic hops the bus for the Film Clas elite, grabbing 4.8 napkins out of 5, even though they don’t need them.

An impromptu reflection upon my five favorite male characters reveals, in no particular order, Javier Rodriguez Rodriguez, Sean McGuire, Ian Malcolm, Jason Bourne and, of course, Han.

The Bourne backstory of trying to discover one’s backstory whilst running from those afraid of said backstory’s proliferation is dynamic and compelling. In Jason Bourne, Bourne (Damon) is far removed from that initial passport photo but seemingly closer to the truth. And that scares so many people.

Paul Greengrass’ mastery of technological surveillance and chase sequences combines with the aptitude and abilities of Bourne to create a visceral theatrical gusto for the whole picture. Think Waterloo Station from Ultimatum.

Julia Stiles returns as Nicky Parsons, Bourne’s reluctant confidant always inciting or comforting our hero, and continues her rogue brilliance.

And bonjour Vincent Cassel! Reuniting with Damon, he yields his intrinsic Asset prowess. Thankfully Tommy Lee Jones left Samuel Gerard in the ’90s and portrayed a tired and conniving CIA director spot on. Heather Lee (Vikander) is introduced into the fray showing a magnificent overconfidence.

Although the Las Vegas destruction bit evokes Cameron Poe, the film triumphs. Jason Bourne folds up 3.89 out of 5 napkins to smack those sent after him.