Respond to these rapid questions in our Jack Reacher Never Go Back quiz and we will tell you which Jack Reacher Never Go Back character you are. Play it now.
Jack Reacher (Tom Cruise) is not a talkative individual. He’s a loner who doesn’t have a middle name or a fixed address. He lives in squalid motels and travels around by hitchhiking. He has a tendency to communicate with his fists, though only after numerous warnings have failed to convince him otherwise. To put it mildly, he is not a good candidate to be a father or a husband.
So, of course, the film adaptation of Lee Child’s novel “Jack Reacher: Never Go Back” comes up with the brilliant idea of providing Jack with a makeshift nuclear family consisting of a female Army major, Susan Turner (Cobie Smulders), who has been wrongly accused of a bloody conspiracy, and a teenage girl named Samantha Dayton (Danika Yarosh), who may or may not be Jack’s daughter from a previous dalliance. Although Cruise is considerably smaller in stature than Clint Eastwood, he manages to convey the same sense of adversity and apprehension that Eastwood did in his early masterpiece “The Outlaw Josey Wales,” which tells a thematically similar story about a loner who becomes part of a “family.” Despite Cruise’s diminutive size in comparison to Eastwood, he manages to convey the same sense of adversity and apprehension that Eastwood His performance tries to go deeper than the film’s narrative will allow it to go. Jack inflicts violence because it’s the only thing he’s really good at; it may even be his only form of cowardice—a way of avoiding adult responsibilities—and he has no idea what to say to a romantic partner or a child during quiet moments, which we learn more from watching Cruise than from any of the forgettable dialogue the character has been given.
Sadly, “Jack Reacher: Never Go Back” fails to provide adequate support for Cruise and his co-stars, who are all behaving as if their lives depend on what they are doing onscreen. There’s a great movie buried somewhere in here—a strange but beguiling family comedy and a meditation on nature vs. nurture, with a dash of shooting and punching thrown in—but the filmmakers never seem to figure out how to extract it from its buried state. The way director Edward Zwick and co-writer Marshall Herskovitz (who rewrote Richard Wenk’s script) juxtapose bone-breaking fisticuffs with deadpan-goofy scenes where Jack and Susan—basically who’s a female Jack, with the same anger-flexing jawline—struggle to protect and half-assedly parent Samantha as the trio runs from city to city, fending off assassins and trying to clear Susan’s name has a Zwick, on the other hand, lacks the wildness of Hong Kong that is required to pull off that kind of film. Intuitive in his direction, but perhaps a little too earnest and cautious for the subject matter.
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A few genuine laughs can be had when Jack, Susan, and Samantha (a street-tough kid whose mother was a prostitute and drug addict) fall into the familiar “Father Knows Best” patterns, despite the fact that they’re holed up in a New Orleans hotel while attempting to uncover the truth about an Afghanistan-based arms smuggling operation run by a Halliburton-type military contractor. As a result, they’re a little like actors who have been thrown into a play without the benefit of having read the script, and they’re forced to improvise, which isn’t going to go over well with the audience. Susie and Samantha’s version of mother-daughter bonding involves giving a man a lesson on how to remove his gun from his grasp while simultaneously kicking him in the testicles. Jack and Susan confront Samantha when she returns after sneaking out without permission one night, and Jack half-stutters, “Where were you?” when she is asked where she went.
Jack Reacher Never Go Back Quiz
The sight of two skull-cracking soldiers failing to maintain control over a teenage girl is a good joke that, surprisingly, never gets old. The unfortunate reality is that it never develops into anything more than a joke or an undeveloped concept. The film is filled with ideas that aren’t fully developed, as well as scenes that could’ve been spectacular, or at the very least clever, if Zwick and Herskovitz had been able to settle on a tone and a vision and then fully flesh them out. Instead, they plod along with mild enthusiasm but little zeal, alternating dry-but-not-dry-enough comedy with action scenes that are competently executed but nowhere near as inventive and stirringly perverse as the best stuff in the original “Jack Reacher,” a likewise pretty-good military conspiracy thriller enlivened by Cruise’s junkyard dog sourness, a campy villain performance by Werner Herzog (who, unfortunately, has no equivalent here), and a couple of brilliant
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In the end, Zwick (who has told many military-themed stories, including “Courage Under Fire” and “Glory”) and Herskovitz (who collaborated with Zwick on a series of excellent domestic dramas for television, the best of which was “My So-Called Life”) can’t seem to decide whether they want to lightly parody the subgenre of “burnt-out killer rejuvenated by love” or embrace it without apology, even if it means alienating fanboys When the film’s penultimate scene takes place, it is a tragic goodbye between Jack and Samantha that could have been heartbreaking had the filmmakers ended it thirty seconds sooner.
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In this scene, Cruise performs some of his best acting of his career; you can see Jack struggling to make his face and voice do things that a natural father’s would do automatically, and failing miserably because he’s either not wired that way or lacks the life experience necessary to fake it successfully. There are some scenes in which Cruise’s performance reminds me of Kurt Russell’s performance in “Soldier,” which is one of the best lead performances I’ve ever seen in a film that was only marginally better than average. With Aldis Hodge in the role of a military police officer, Holt McCallany in the role of an officer who is up to no good, and Patrick Heusinger as an assassin who goes only by the name of The Hunter and whose black trenchcoats and hipster facial hair make him look like a Eurotrash cousin of Ryan Gosling, the film has strong supporting performances. While Smulders has a few standout moments as well—and she further cements the notion of Susan as the female Jack by delivering biting rebukes in a cadence reminiscent of Cruise’s “A Few Good Men”—she, too, is left to drift aimlessly between the winds. Despite the fact that there is nothing particularly bad about this film, it fails to impress anyone who has anything to do with it. That’s the kind of magic trick you don’t want to see performed in front of you.Also, you must try to play this Jack Reacher Never Go Back quiz.
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