answer: the story in detail
paragraph_question: question: Is it recommended as a detail?, context: It may be Mat Damon himself.  Surely the leading man in a film of this kind is important, but at first glance, Damon has none of the obvious traits.  He isn't killer handsome.  Neither has he the body of a circus ariealist.  What he's got, it seems to me, is the ability to remind you of a younger brother who enlisted in the Navy and somehow wound up in the Seals.  Nobody had any idea.  One minute he's the hot-shot of the High School Baseball team, the next minute you're watching him get decorated dressed in whites.  You're so proud of him, even if you don't know what it is he does, precisely, and all your family loves him.So, as I say, no International Lounge Lizard with nouveau riche tastes, or a necklace of Euro-Trash beauties around his neck.But, when the movie begins and they haul him out of the sea, nearly dead, you see it.  And as he recovers from his wounds, it becomes clearer.  He's one of the brightest and the best; clean as a whistle, sharp as a tack.  Dad's favorite boy, memory clouded, somehow, and on a mission even he doesn't remember.  And whithout making any judgment about it, you've got a great deal invested in him; in seeming him safe and his enemies identified and routed.  Therefore, when the action begins, and it does immediately, one watches him negotiate the thorny mazes of predicaments of incredible complexity and menace, with ingenuity and dispatch.  One of the best demonhstrations of what he can do happens when he arrives in Paris, after getting his money and passports out of a Swiss bank.  ANd himself and a German girl of some sort with a car, out of the American Embassy trap.  Well, an assassion crashes into his Paris apartment before either of them can catch a breath, and there's a life and death flght which ends when the failed assassin thorws himself out of the window and dies on the sidewalk below.  That is the prelude to as brilliant and harrowing a demonstration of trick driving as I've ever seen, as Borne and the girl drive her Cooper Mini through the mazes and tangles of fast, congested Parisian traffic, followed by police cruisers and motorcycle mounted cops.  Thrilling!  And that's just the first third of the film.Rather than describe the remainder of the story in detail, I will say, instead, that the director does not allow the project to make any fatal mistakes.  He doesn't flirt with us; doesn't try to seduce us into liking the movie with mugging or stupid action jokes.  He doesn't use kids that way.  Or animals.  Or any people.  There are no faux literary pretensions anywhere.  Although there are people of different racial and ethnic backgrounds in the film, there's no ethnic or racial humor.  There are no shameful and insincere attempts to conjure up a facile moral to the story by juggling religioius symbols.  The sexual attraction of the hero and heroine to one another isn't either lewd or tricky, but grows inevitably out of the inter-reliance that builds between them as they cling to life and avoid discovery.  What attracts her is his freshness, frankness, fearlessness and his determination to protect her from enemies that are really his alone.  Their care for each other becomes as artless and as inevitable as sunrise.The sound track is good and the intercut POP music is as one would expect it, but the music is never distracting.Seems to me I've watched this show 3 times now, and it looks better and better every time.  The complex entity that IDENTITY is has been handled with such deftness and skill that no shot or sequence appears to have been derived from any shot or sequence in any other film.  And the editing is flawless.  Flawless! 
sentence: Rather than describe the remainder of the story in detail , I will say, instead, that the director does not allow the project to make any fatal mistakes.
paragraph: It may be Mat Damon himself.  Surely the leading man in a film of this kind is important, but at first glance, Damon has none of the obvious traits.  He isn't killer handsome.  Neither has he the body of a circus ariealist.  What he's got, it seems to me, is the ability to remind you of a younger brother who enlisted in the Navy and somehow wound up in the Seals.  Nobody had any idea.  One minute he's the hot-shot of the High School Baseball team, the next minute you're watching him get decorated dressed in whites.  You're so proud of him, even if you don't know what it is he does, precisely, and all your family loves him.So, as I say, no International Lounge Lizard with nouveau riche tastes, or a necklace of Euro-Trash beauties around his neck.But, when the movie begins and they haul him out of the sea, nearly dead, you see it.  And as he recovers from his wounds, it becomes clearer.  He's one of the brightest and the best; clean as a whistle, sharp as a tack.  Dad's favorite boy, memory clouded, somehow, and on a mission even he doesn't remember.  And whithout making any judgment about it, you've got a great deal invested in him; in seeming him safe and his enemies identified and routed.  Therefore, when the action begins, and it does immediately, one watches him negotiate the thorny mazes of predicaments of incredible complexity and menace, with ingenuity and dispatch.  One of the best demonhstrations of what he can do happens when he arrives in Paris, after getting his money and passports out of a Swiss bank.  ANd himself and a German girl of some sort with a car, out of the American Embassy trap.  Well, an assassion crashes into his Paris apartment before either of them can catch a breath, and there's a life and death flght which ends when the failed assassin thorws himself out of the window and dies on the sidewalk below.  That is the prelude to as brilliant and harrowing a demonstration of trick driving as I've ever seen, as Borne and the girl drive her Cooper Mini through the mazes and tangles of fast, congested Parisian traffic, followed by police cruisers and motorcycle mounted cops.  Thrilling!  And that's just the first third of the film.Rather than describe the remainder of the story in detail, I will say, instead, that the director does not allow the project to make any fatal mistakes.  He doesn't flirt with us; doesn't try to seduce us into liking the movie with mugging or stupid action jokes.  He doesn't use kids that way.  Or animals.  Or any people.  There are no faux literary pretensions anywhere.  Although there are people of different racial and ethnic backgrounds in the film, there's no ethnic or racial humor.  There are no shameful and insincere attempts to conjure up a facile moral to the story by juggling religioius symbols.  The sexual attraction of the hero and heroine to one another isn't either lewd or tricky, but grows inevitably out of the inter-reliance that builds between them as they cling to life and avoid discovery.  What attracts her is his freshness, frankness, fearlessness and his determination to protect her from enemies that are really his alone.  Their care for each other becomes as artless and as inevitable as sunrise.The sound track is good and the intercut POP music is as one would expect it, but the music is never distracting.Seems to me I've watched this show 3 times now, and it looks better and better every time.  The complex entity that IDENTITY is has been handled with such deftness and skill that no shot or sequence appears to have been derived from any shot or sequence in any other film.  And the editing is flawless.  Flawless! 
sentence_answer: Rather than describe the remainder of <hl> the story in detail <hl> , I will say, instead, that the director does not allow the project to make any fatal mistakes.
paragraph_answer: It may be Mat Damon himself. Surely the leading man in a film of this kind is important, but at first glance, Damon has none of the obvious traits. He isn't killer handsome. Neither has he the body of a circus ariealist. What he's got, it seems to me, is the ability to remind you of a younger brother who enlisted in the Navy and somehow wound up in the Seals. Nobody had any idea. One minute he's the hot-shot of the High School Baseball team, the next minute you're watching him get decorated dressed in whites. You're so proud of him, even if you don't know what it is he does, precisely, and all your family loves him.So, as I say, no International Lounge Lizard with nouveau riche tastes, or a necklace of Euro-Trash beauties around his neck.But, when the movie begins and they haul him out of the sea, nearly dead, you see it. And as he recovers from his wounds, it becomes clearer. He's one of the brightest and the best; clean as a whistle, sharp as a tack. Dad's favorite boy, memory clouded, somehow, and on a mission even he doesn't remember. And whithout making any judgment about it, you've got a great deal invested in him; in seeming him safe and his enemies identified and routed. Therefore, when the action begins, and it does immediately, one watches him negotiate the thorny mazes of predicaments of incredible complexity and menace, with ingenuity and dispatch. One of the best demonhstrations of what he can do happens when he arrives in Paris, after getting his money and passports out of a Swiss bank. ANd himself and a German girl of some sort with a car, out of the American Embassy trap. Well, an assassion crashes into his Paris apartment before either of them can catch a breath, and there's a life and death flght which ends when the failed assassin thorws himself out of the window and dies on the sidewalk below. That is the prelude to as brilliant and harrowing a demonstration of trick driving as I've ever seen, as Borne and the girl drive her Cooper Mini through the mazes and tangles of fast, congested Parisian traffic, followed by police cruisers and motorcycle mounted cops. Thrilling! And that's just the first third of the film.Rather than describe the remainder of <hl> the story in detail <hl>, I will say, instead, that the director does not allow the project to make any fatal mistakes. He doesn't flirt with us; doesn't try to seduce us into liking the movie with mugging or stupid action jokes. He doesn't use kids that way. Or animals. Or any people. There are no faux literary pretensions anywhere. Although there are people of different racial and ethnic backgrounds in the film, there's no ethnic or racial humor. There are no shameful and insincere attempts to conjure up a facile moral to the story by juggling religioius symbols. The sexual attraction of the hero and heroine to one another isn't either lewd or tricky, but grows inevitably out of the inter-reliance that builds between them as they cling to life and avoid discovery. What attracts her is his freshness, frankness, fearlessness and his determination to protect her from enemies that are really his alone. Their care for each other becomes as artless and as inevitable as sunrise.The sound track is good and the intercut POP music is as one would expect it, but the music is never distracting.Seems to me I've watched this show 3 times now, and it looks better and better every time. The complex entity that IDENTITY is has been handled with such deftness and skill that no shot or sequence appears to have been derived from any shot or sequence in any other film. And the editing is flawless. Flawless! 
paragraph_sentence: It may be Mat Damon himself. Surely the leading man in a film of this kind is important, but at first glance, Damon has none of the obvious traits. He isn't killer handsome. Neither has he the body of a circus ariealist. What he's got, it seems to me, is the ability to remind you of a younger brother who enlisted in the Navy and somehow wound up in the Seals. Nobody had any idea. One minute he's the hot-shot of the High School Baseball team, the next minute you're watching him get decorated dressed in whites. You're so proud of him, even if you don't know what it is he does, precisely, and all your family loves him. So, as I say, no International Lounge Lizard with nouveau riche tastes, or a necklace of Euro-Trash beauties around his neck. But, when the movie begins and they haul him out of the sea, nearly dead, you see it. And as he recovers from his wounds, it becomes clearer. He's one of the brightest and the best; clean as a whistle, sharp as a tack. Dad's favorite boy, memory clouded, somehow, and on a mission even he doesn't remember. And whithout making any judgment about it, you've got a great deal invested in him; in seeming him safe and his enemies identified and routed. Therefore, when the action begins, and it does immediately, one watches him negotiate the thorny mazes of predicaments of incredible complexity and menace, with ingenuity and dispatch. One of the best demonhstrations of what he can do happens when he arrives in Paris, after getting his money and passports out of a Swiss bank. ANd himself and a German girl of some sort with a car, out of the American Embassy trap. Well, an assassion crashes into his Paris apartment before either of them can catch a breath, and there's a life and death flght which ends when the failed assassin thorws himself out of the window and dies on the sidewalk below. That is the prelude to as brilliant and harrowing a demonstration of trick driving as I've ever seen, as Borne and the girl drive her Cooper Mini through the mazes and tangles of fast, congested Parisian traffic, followed by police cruisers and motorcycle mounted cops. Thrilling! And that's just the first third of the film. <hl> Rather than describe the remainder of the story in detail , I will say, instead, that the director does not allow the project to make any fatal mistakes. <hl> He doesn't flirt with us; doesn't try to seduce us into liking the movie with mugging or stupid action jokes. He doesn't use kids that way. Or animals. Or any people. There are no faux literary pretensions anywhere. Although there are people of different racial and ethnic backgrounds in the film, there's no ethnic or racial humor. There are no shameful and insincere attempts to conjure up a facile moral to the story by juggling religioius symbols. The sexual attraction of the hero and heroine to one another isn't either lewd or tricky, but grows inevitably out of the inter-reliance that builds between them as they cling to life and avoid discovery. What attracts her is his freshness, frankness, fearlessness and his determination to protect her from enemies that are really his alone. Their care for each other becomes as artless and as inevitable as sunrise. The sound track is good and the intercut POP music is as one would expect it, but the music is never distracting. Seems to me I've watched this show 3 times now, and it looks better and better every time. The complex entity that IDENTITY is has been handled with such deftness and skill that no shot or sequence appears to have been derived from any shot or sequence in any other film. And the editing is flawless. Flawless!