nurture, with a bit of shooting and punching thrown in-but the filmmakers never figure out how to excavate it.
There’s a great movie buried somewhere in here-a strange but beguiling family comedy and a meditation on nature vs. It’s a pity that “Jack Reacher: Never Go Back” fails to support Cruise and his co-stars, all of whom are acting as if their lives depended on it. We get a sense, more from watching Cruise than from any of the forgettable dialogue the character’s been given, that Jack inflicts violence because it’s the only thing he’s really good at that it may in fact be his only form of cowardice-a means of running away from adult responsibilities-and that he has no idea what to say to a romantic partner or a child during quiet moments. His performance tries to delve deeper than the film will allow. This is the kind of setup that Clint Eastwood might’ve handled with aplomb back in the day-in fact, Eastwood’s early masterpiece “ The Outlaw Josey Wales,” tells a thematically similar story about a loner who acquires a "family"-and although Cruise is diminutive compared to Eastwood, he does a credible version of Clint’s squint and hair-trigger lethality. So of course “Jack Reacher: Never Go Back,” based on Lee Child’s novel, has the bright idea of outfitting Jack with a makeshift nuclear family consisting of a female Army major, Susan Turner ( Cobie Smulders), who’s had a bloody conspiracy wrongly pinned on her, and a teenage girl named Samantha Dayton ( Danika Yarosh), who might or might not be Jack’s daughter by a previous dalliance. He is not, to put it mildly, father or husband material. He lives in fleabag motels, gets around by hitchhiking, and tends to communicate with his fists, though only after repeated warnings have failed. He’s a loner with no middle name and no fixed address. Jack Reacher ( Tom Cruise) isn’t a talky fellow.
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