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    Movie Review

    Jack Reacher: Never Go Back is a prophetic movie title

    Alex Bentley
    Oct 20, 2016 | 4:49 pm
    Jack Reacher: Never Go Back is a prophetic movie title
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    In a movie landscape where franchises seem to rule the box office, sequels are the norm, not the exception. That’s especially true when you’re adapting something like the Jack Reacher book series, which now includes 21 books by Lee Childs, giving ample fodder for movies from here to the next century.

    But when a film is as lightly received, both critically and commercially, as 2012’s Jack Reacher was, it’s difficult to see why Tom Cruise and company would force another film down audiences' throats. And yet here they are with Jack Reacher: Never Go Back, a sad excuse of a movie that starts bad and only gets worse.

    The forever-drifting Reacher (Cruise) is called back into action when the person who took over his old job with the military police, Major Susan Turner (Cobie Smulders), is arrested under shady circumstances. At the same time, he discovers information that he may be the father of a now 16-year-old girl named Samantha (Danika Yarosh), giving him two missions that, Reacher being Reacher, combines into one as the bad guys try to stop him.

    There’s really no point going into more depth about the plot, because it’s too convoluted and inconsequential to matter. Writer/director Edward Zwick fast-forwards through any kind of character or plot development, forcing connections between people that aren’t there in order to cram as much action as he can into the movie.

    But if we don’t care about the characters, we can’t care about the danger they find themselves in or about much anything else they do. Add in a plethora of cheesy, clichéd lines; action that is generic as it comes; and situations so ludicrous that eye-rolling is the only natural reaction, and you have a film that feels like it came straight out a low budget movie factory, not a major Hollywood studio.

    Epitomizing the slapdash way in which this movie appears to have been put together is the casting. The first film, bad as it was, at least had the foresight to cast soon-to-be stars like Rosamund Pike and David Oyelowo, and recognizable stars like Richard Jenkins and Werner Herzog. This one only has Smulders, who at least has a little cachet from How I Met Your Mother and a few Marvel movies, and Robert Knepper, aka the creepy guy in every role he’s every played. Everyone else is straight out of B-movie central casting.

    Even Cruise, who usually saves his movies through force of sheer will, can’t do much. He’s reduced to a never-ending series of quizzical looks, and even when he gets a chance to flex his muscles, the aforementioned ho-hum fight scenes do nothing to get the blood pumping.

    Never has a title been more appropriate for a film than Jack Reacher: Never Go Back. The filmmakers should have heeded that warning, and it’s a big flashing red light for anyone who’s even thinking about putting down good money for this two-hour waste of time.

    Tom Cruise in Jack Reacher: Never Go Back.

    Tom Cruise in Jack Reacher: Never Go Back
    Photo courtesy of Paramount Pictures
    Tom Cruise in Jack Reacher: Never Go Back.
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    Movie Review

    Amanda Seyfried and Sydney Sweeney go off in trashy film The Housemaid

    Alex Bentley
    Dec 19, 2025 | 12:24 pm
    Amanda Seyfried and Sydney Sweeney in The Housemaid
    Photo courtesy of Lionsgate
    Amanda Seyfried and Sydney Sweeney in The Housemaid.

    Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.

    Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).

    After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.

    Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.

    The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.

    Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.

    Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.

    The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.

    ---

    The Housemaid is now playing in theaters.

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