What's satisfying about this film is that it's about justice (not revenge, as one critic said). Jeremy Renner is COMPETELY believable as the wronged super-assassin. He is as compelling, in a different way, as Matt Damon was, and very sympathetic. There are two great scenes in the movie -- as good as anything I've ever seen. One is in the kitchen of Rachel Weisz's character, where she is being debriefed by a clinical psychologist, and the other is the fabulous chase scene that brings the movie to a close. The movie definitely lived up to its predecessors, and I recommend it highly. Plus, I saw it at the Ziegfeld theater in NYC, the greatest movie theater on earth!
(This review contains a spoiler.) I understand why people went to such lengths to restore and preserve this movie, as it is an important example of early film-making. However, this is a motion picture, NOT cinema -- interesting images, but no heart. To watch it was to endure what my son called "cinematic water-boarding." There was a plot, or rather, a plot was intended, but it was incomprehensible: some people were in a boat, but why they were in the boat, and who they were to each other I have no idea. Then they all died. Why?? I don't know!! And the music that accompanied it, although beautiful at times, bore no relationship to the visuals, and was often in direct conflict with what you were seeing on the screen. After an hour and a half, if I'd had a gun, I would have shot myself! Others in the BAM audience walked out, but being a die-hard movie fan, not to mention an optimist, I was determined to stick it out to the very end. I kept hoping that something wonderful would happen. This is a film for film students and critics to ponder, but it is not entertainment. On the other hand, it's not art either -- just artifact.