Often the problem with the middle instalment of a trilogy is an inability to deliver a self-contained plot while serving the narrative through-line of the entire story arc. Supremacy falls prey to this to some degree, despite the skill and flair of director Paul Greengrass (please hire this man to direct a future Bond). Here in New Zealand we thank him for providing gainful employment — and dialect coaching — to a couple of local lads (Karl Urban, Marton Csokas), but ultimately their cardboard characters add little to proceedings. What does work is the gritty tone, the automotive set pieces and Greengrass’s at times hyper-stylized visual flourishes.