Sniper James Barr (Joseph Sikora) is accused of murdering five “random” people from a downtown Pittsburgh parking structure on a picturesque afternoon. Quickly, lead detective Emerson (David Oyelowo) discovers crucial evidence, and the perp is taken into custody. During questioning with District Attorney Rodin (Richard Jenkins), he is told he can either plead guilty and live out his days behind bars or face trial and get the needle. Deciding neither, he scribbles down the phrase, “GET JACK REACHER.” While DA Rodin and detective Emerson run through Reacher’s decorated military background, great military police record, and current wandering existence, the man himself comes waltzing in the office and asks to see Barr. Jack had noticed Barr’s name appear in the news, and because of their “history,” thought his expertise could be of some use. Unfortunately, the shooter is now in a coma from being beaten nearly to death by others on a transport van to the big house. Meeting the three on their way out from the hospital is Barr’s council Helen Rodin (Rosamund Pike), daughter of the hard hitting DA.
During a confidential conversation, Reacher reveals to Helen that Barr served alongside him, and displayed a passion for taking human life. Problem is, Barr was never cleared to fire on a target, and went two years without quenching his thirst to extinguish someone else’s breath. Barr goes AWOL, and strikes down a handful of innocents in cold blood; predictably it was Jack who cracked the case. If it not for “dumb luck” about the killer’s target selection, he would have went down then. But while Reacher is sure of his guilt, Helen still insists on Barr receiving a fair trial, and petitions Jack to lend his “professional lens” while the smoke begins to clear on this twisted case. From here, things rev into high gear, and not all is what it appears to be when Reacher starts digging into not only Barr’s immediate past, but the other crucial players surrounding the “open and shut” case.
When I first heard of the project, I was unknowing of the following that this character has in its back pocket. Author Lee Child has written several entries detailing the life of Jack Reacher, starting with the 1997 novel Killing Floor. This film is adapted from 2005’s One Shot. And because of the apparent vagabond nature of Reacher, the ninth installment was a good a place as any to introduce a film audience to the ex military gumshoe. Mr. Child offered his assistance to lead writer and director Christopher McQuarrie. Checking up on his rap sheet, the gentleman’s Hollywood niche exists with writing. He even garnered an Oscar for is work on The Usual Suspects. But up to this effort, he only has one other directing credit (The Way of the Gun). So, to combat the inexperience, McQuarrie presents a film that is quite “vanilla” in nature. Not to say that this approach is a mistake, necessarily. It just becomes clear that all the scenes are very matter of facutal. Not a ton of pizzazz or style. And for a hard charging action/mystery, a little spice would be nice. Having said that, the action scenes are contructed very well. The fights, the shootouts, the car chases. The “pillars” of this genre are present, and come across as being rather genuine, and don’t make an obnoxious effort to be the “biggest explosion you’ve ever seen!!!!!!!!!!” The less is more approach works well, and is a plus. The mystery side does leave something to be desired. To be forthright, I have not read the founding text or any of the “Reacher” excursions. So I can’t speak to my possible detractor that might say “well, it was true to the book.” To that I would retort, “bravo”. But pacing for film is much different than it is with reading. You become more attached to nouns (people, places, and things) with your nose in a book than with your eyes on the screen. Once the main “reveal” happens (relatively early in the preceedings), the narrative roller coaster calms considerably. Don’t expect surprises around every corner, or boatloads of backstabbing. While this may lend itself well to Reacher’s “no nonsense” disposition, it doesn’t make for a terribly interesting watch.
The acting is solid overall, but there isn’t a lot of “chances” being taken either. Most of the cast have a role to play because their necessary for Reacher’s world. But they don’t stand on their own well in terms of importance. Oyelowo, Jenkins, and Pike are just fine. But nothing about them makes me readily remember any of their scenes or think any of them are absolutely crucial to entertainment value. The rapport between Pike and Cruise is really good. But the duo’s screen time together is limited. The positive to this is that Tom Cruise (like him or not) has a TON of star power. Always has. So he is more than capable of carrying an action flick on his own. I get the feeling Jack’s billing should be stratospherically higher than everyone else, and in the film it is. It’s just worth noting not to expect dynamite from an “ensemble cast.” The villains, though, are cool. Heralded documentarian Werner Herzog plays The Zec, a creepy criminal type with scant emotions. Anyone who’s heard him speak knows he’s perfect for this type of baddie. The second dude of note is Jai Courtney. He embodies Charlie, Zec’s “number one guy.” His “cold” stance and calculated violent abilities creates a formidable foe. It’s easy for the audience to be leery of Charlie, which helps his cause of appearing evil.
The presentation side is really good. The resolution is colorful and clear. The lighting really makes the blocking and props stand out, and creates a movie that is a joy to look at. The DTS Master track rocks, too. The front channels are really pronounced, which helps when the action ramps up. And effectively placed surround elements heir on the side of smart. The Special Features section is average in numbers, and add the usual “extended insight” into the film. “When a Man Comes Around” is the main half hour featurette with actor/producer Cruise, director Christopher McQuarrie, producer Don Granger, and author Lee Child about the origins of the novel-to-screen adaptation, the “alertness” Paramount had to get the ball rolling sooner than later on the project, and why One Shot was a perfect start to a potential film series. “Your Do Not Mess with Jack Reacher: Combat & Weapons” offers a look into orchestrating fight scenes that have a very gritty sense of verisimilitude and the amount of “attention to detail” spent on firearm selection and training. “The Reacher Phenomenon” goes in depth with Child about what makes the character Jack Reacher so interestingly unique in the way he can write each entry independently and how Reacher’s “code of conduct” can appeal to film audiences. There is also commentary with Cruise and McQuarrie and commentary with composer Joe Kramer.
