This involves Reacher’s potential daughter Samantha (Danika Yarosh), pulled into the story for emotional grounding before turning toward a derivative routine of protection and kidnapping. Instead, the script’s deal is to humanize Reacher, still arrogant, still infinitely confident, if presenting the engaging “what if?” of this trained rebel in a domestic lifestyle. A few rounds of fisticuffs too (including a clever kitchen melee), although they rapidly draw to a close. Never Go Back peppers itself with occasional chases and one heavy shoot-out. Reacher still stands alone against a cold villain (Patrick Heusinger) by the overly foreshadowed climax, a rather arbitrary finish considering Never Go Back’s already completed story arc. It’s sharp commentary, if never acted upon.
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Reacher pairs with Cobie Smulders, a viable kick/punch/shoot partner at arms, instituting a touch of critical blowback in a series of heated monologues regarding military sexism. Pace is in Never Go Back’s favor, hitting necessary marks to rev up the compact corruption tale, sprinkled with some interpersonal drama. Utterly wasting fantastic location choices (New Orleans especially, using non-descript abandoned warehouses as opposed to the city’s familiar beauty), Tom Cruise silently ventures between scenes as the title character, speaking as needed while pursuing a rapidly formed romance. Reacher’s sequel uses snazzy cinematography and a military intrigue plot, both lost in the midst of pseudo-family drama which alienates a chunk of the story. Jack Reacher: Never Go Back has the narrative execution of a late ‘90s chase thriller, but with the contemporary action dressing of Bourne.
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