JACK REACHER: NEVER GO BACK echoed its title and wrote finis to the ‘Reacher’ franchise, at least that part involving star Tom Cruise on the big screen. Its less-than-stellar 2016 response from critics and—considerably more important—the box office, was a letdown after the much better first run four years earlier. Number 2, based on the 416-page novel, 18th in Lee Child’s series about justice dispensing badass Reacher, was directed by Edward Zwick, who co-wrote the script with Richard Wenk and Marshall Heskovitz.

THE HUNTER: “Is that fear I hear you in your voice, Jack?”  REACHER: “I’m gonna break your arms. I’m gonna break your legs. I’m gonna break your neck. What you hear is excitement.”

Rogue ex-soldier ‘Jack Reacher’ (Cruise) finds himself working with ‘Maj. Susan Turner’ (Cobie Smulders), framed for murders that trace to an arms smuggling ring led by a corrupt general, CEO of a private military outfit. Reacher’s aim to help the major, foil the plot and stay alive is further complicated by a teenager who claims she’s Reacher’s child.

Cruise is typically fine (albeit physically wrong for the character), Smulders is most welcome and the final chase/fight wrapup is pretty good. But a bland supporting lineup, less-than-riveting plotline and overall sense of déjà vu let much the air out of the star vehicle. Though his resumé includes high quality action sequences (Glory, The Siege, Blood Diamond), this time, the finish apart, director Zwick allows much of the rough stuff to blur into too-rapid cutting; either he or editor (the normally terrific Billy Weber) missed the ball.

Cruise control: lots of sprinting

$162,100,000 worldwide with just 36% of that in the crucial US market, where it flailed at 57th place, a rare slip for the agile Tomcat. Not what was hoped for after $60,000,000—possibly as much as $96,000,000—was expended, not including prints and advertising. As fans of the books know, Reacher wouldn’t care.

With Danika Yarosh, Patrick Heusinger, Jessica Stroup, Aldis Hodge, Holt McCallany, Robert Knepper, Madalyn Horcher. Shot mostly in New Orleans. 118 minutes.