Yes, indeed, THE BOURNE SUPREMACY has an incredibly confusing fight scene. But we can also take a look and see if it's mere incompetence on the director's (Paul Greengrass) part, or if the Greengrass actually meant for it to be that way. I've seen this movie twice, and the pleasures the second time around make for a classic action film. I know you say you enjoyed this movie, so we're not debating on whether it's good or enjoyable, we're talking about this one scene. I harken back to the other action scenes in the movie, how well-constructed they are, and everyone seems to really love that chase scene, indeed one of the best car chases you're likely to find in the past 5 years. But the expertise doesn't stop there. Early in the film, when Bourne and girlfriend Marie (Franka Portente) are fleeing the assassin Kirill (Karl Urban), and they seem to have lost him. They are, in fact, in front of a bus. Kirill wheels his vehicle off-road and sets up his long-range rifle as the pair get further and further away. While the film is cutting away to Kirill and his actions, it may have made the viewer lose track of where Bourne and Marie are, but because of that subtle fact that they are in front of a bus (the big bus is the way by which we know where Bourne and Marie are without having to search any one frame for their jeep), and that the bus is now going over a bridge, which is obviously Kirill's kill point, the action plays out with precision, subtlety, and danger. Add to that the driver-switch that Bourne and Marie make and the scene employs a greater drama and irony. I think back to that scene a lot, just because it shows what good directors do to make the action coherent and tense at the same time. Knowing where everyone is, at all times (even when the camera cuts away to show someone loading a gun, or fishing through their glovebox, etc.), makes for good action. So, yeah, this scene in question--confusing and the like. I once told someone after watching FIRE DOWN BELOW, one of Steven Seagal's post-UNDER SIEGE, flying-off-the-Hollywood-radar flicks, that Seagal dispatches his enemies with rapid-fire...editing. The fact is, Jason Bourne is Matt Damon, not the other way around, although our suspension of disbelief always makes it that way. And the other assassin is some other actor. Now, they can act, and they can do a good imitation of someone who regularly beats ass without batting an eye, especially when camera angles and post-production get into the fray, but they are not assassins. And watching a full-frame, knock-'em, sock-'em beatdown would be glorious on film but it wouldn't be convincing. Even when martial-arts experts get into a grand finale in ROMEO MUST DIE, they had to put some extremely wacked-out special effects into it to make it look like the actors could do those high-wire things. So, then, what about the confusing, shaky way in which this scene was done? I believe a director has to make a decision about this. Remember, we're in close quarters, a dark apartment with tables and chairs and stuff getting in the way. These guys are equal to each other. One day THIS guy might win; another day, THAT guy might win. It's going to be an intense battle. So, as a director I believe I need to make all the camera angles extremely close and almost claustrophobic, raising the tension up a bar, like you're in the fight. From far away, a long shot, it might actually look like these guys are making love, not fighting. I WILL SAY THIS, HOWEVER. That doesn't make this fight perfect by any means--I just know what he was going for (as you probably do, but it still doesn't make it better). In fact, there could have been some distinguishing outfits. This was sort of the problem with the mega-fight in THE MATRIX REVOLUTIONS with Neo and Agent Smith, completely cloaked in black and fighting in the night sky. But audiences have become somewhat cynical about the different-color scheme for bad guys and good guys. I think of TWISTER and the evil black vans of the Cary Elwes-led, in-it-for-the-money-not-for-the-science group. We have in THE BOURNE SUPREMACY two guys who are the same, as in THE MATRIX REVOLUTIONS, it is actually the right choice in many respects. The lighting? That couldn't have gotten better, either, because these guys sneak around and hide and need stealth, and it was purposely dark for the express reason that Bourne was lying in wait for the other guy, needing surprise. So what would I have done? You might have had to go with the cliche, have the fight smash the deck door window and have it go outside, where at the end someone eventually falls to their death. It's impossible to know what would have made that scene better under the circumstances, except for doing things that you know these guys wouldn't do, like turn on an overhead light or a lamp. Anyway, that's my long-winded take on the idea. If you want me to hate a Michael Bay action scene, I'll totally blast those, because those are in broad daylight most of the time and you still don't know what the hell is going on.