From Bond to Bourne, such action heroes have become the cliché these days, showing an almost sociopathic lack of feeling as they go about their efficient ultraviolence. “TOM CRUISE is JACK REACHER,” read the ads for the 2012 film, and yet, a more accurate description might have been, “TOM CRUISE pretends to be JACK REACHER.” The character that was an awkward fit for the actor four years ago seems to be even more so now, if only because Cruise’s greatest asset is his charisma, while Reacher is a stoic, stone-cold heavy. Cruise can still be counted on to frequently sprint on-camera, but here he comes across as a shadow of the star we’ve known him to be. The sequel looks almost grimy by comparison, relying overly on closeups of a star whose range of expressiveness has been limited to two signature moves: a meaningful jaw clench or a well-time narrowing of the eyes. Though framed in widescreen and lensed by Oliver Wood (DP on the first three Bourne movies), “Never Go Back” displays none of the style or audacity that lenser Caleb Deschanel brought to the earlier installment. Let’s not forget that Zwick and longtime collaborator Marshall Herskovitz got their start writing for television, which seems to be the primary influence on this strangely uncinematic action movie. Give him a child, however, and things could quickly devolve into the sort of manipulative melodrama that befell fellow tough guy Jack Bauer anytime his daughter Kim turned up on “24.” Indeed, one of the things that makes the character so appealing to his fans is that he has no attachments - he’s an avenging conscience without the Achilles’ heel of socialization. And since we know so little about Reacher, there’s no way to assess whether or not the claim is true, except to bring her along. More surprising still, he discovers a surprising detail about his own past: Evidently, an ex-prostitute has filed a paternity claim against him, alleging he’s the father of her now-15-year-old daughter Samantha (Danika Yarosh).
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Immediately following a cold-opening reminder of how Reacher deals with corruption among those in positions of authority, the film softens its drifter protagonist ever so slightly via a series of half-flirty phone calls between him and Turner, in which Reacher promises to look her up in the event that he ever makes it to Washington, D.C. But when he arrives in the nation’s capital, in the very next scene, he learns that Turner has been relieved of her position and court-martialed for treason three days prior. Susan Turner (Cobie Smulders, terrific), who looks like a cross between “The Matrix’s” Trinity and Demi Moore in “A Few Good Men,” and who suffers none of the limits on her own personality wattage. Otherwise, Reacher is handily upstaged by the other characters here, most notably his 20-years-younger replacement, Maj. Alas, Zwick barely manages to tickle our adrenaline, waiting till the climactic showdown amid a New Orleans Halloween parade to deliver a sequence that could legitimately register as memorable.
Christopher McQuarrie, by contrast, managed to wring an impressive car chase, a high-caliber finale, and several other intense set pieces from his meager source material the first time around (his reward: directing Cruise in “Mission: Impossible - Rogue Nation”). But the helmer has never made a flat-out action movie, and he turns out to be shockingly ill-suited for the sort of terse rough-and-tumble that a Jack Reacher outing demands. Zwick excels at epic pageantry his previous Cruise collaboration, “The Last Samurai,” matched that quality to the star’s persona. Yes, he’s kept us entertained as “Mission’s” Ethan Hunt, but in his desperation to generate another franchise, the actor - whose career longevity owes to a savvy understanding of his brand - enlists director Edward Zwick to help him resuscitate the role that suits his appeal least.
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