...All of this happens in what is basically the prologue to the actual
events of the film, which show how the squeaky-clean Ryan, following his
injury, is recruited into the CIA, first as a data analyst at a
financial firm in New York City, and then as an agent on his first field
assignment to avert an act of financial terrorism in Russia. As Ryan
progresses up the ranks of the CIA, though, the story doesn’t get any
more nuanced. Ryan is always the most observant, most competent, most
morally upstanding guy in the room. The Americans are the good guys; the
Russians are the villains. It is, like its airport-novel origins,
pretty boilerplate.
For something so formulaic, though, Jack Ryan: Shadow Recruit is at least well done. Director Kenneth Branagh borrows from the best of recent thrillers. He throws in a Bourne-style fight scene here, a Mission:Impossible break-in-and-heist-sequence there, and some Zero Dark Thirty-like
data analysis, along with a dash of his own classic, theatrical
flourishes. (Branagh takes on the role of Russian baddie Viktor
Cherevin, a cold-blooded killer who still makes time to talk about the
novels of Mikhail Lermontov.)
With each of these sequences, Branagh changes his filmmaking style to match. The
Bourne-like
fistfight also borrows its director’s affinity for the shaky, handheld
camera aesthetic. The longer heist scene has more fluid camera movements
and quick cuts to ratchet up the tension. Throughout, Branagh makes
everything sparkle: fluorescent lights of a city, reflections on smooth
surfaces of modern architecture, blinking lights of a computer message.
The elements of the story may be familiar, but everything looks shiny
and new.
Click through to read the full review at PopMatters.