10 Annoying Flaws That Stop Great Directors Being Perfect

Paul Greengrass is an amazing filmmaker; one who has bravely put a camera lens to some very upsetting real-life incidents over the years, and handled their stories with the utmost respect.

He's also made the Matt Damon look the like worst person to pick a fight with in a dark alley, and for that he deserves kudos. But if there's one thing Greengrass has got to start doing, it's putting his cameras on a dolly and give the cameramen's shoulders a break.

I feel that shaky, handheld camerawork in films will never go away and when it is used properly, it adds to the sense of carnage during a skirmish on a boat or a fistfight in a hotel room. And while Greengrass nails that particular angle, his overuse of shaky cameras for scenes that are a lot "calmer" not only feels inappropriate but dizzying.

For the Bourne movies, the disorientation should come from Jason Bourne's inability to figure out who he is, not between two CIA agents having a chat in an office.

While United 93 and Captain Phillips do incorporate shaky camerawork effectively as a means of standing in a rocking vehicle, it couldn't hurt for him to rest the camera on something every now and then and give audiences a chance to take in what's happening on screen, instead of trying to figure out what's happening.