Tom Clancy’s Jack Ryan is a literary character who, thanks to some terrific cinematic adaptations, became a “thinking man’s action hero.” At a time at the height of the Cold War when there was a demand for an “American James Bond,” John McTiernan delivered an all-time spy movie classic in “The Hunt for Red October,” inspired by the first novel in Clancy’s series. Jack has since been played by different actors, and each subsequent interpretation has slowly chipped away at his persona as a thoughtful, fair-minded analyst who happens to get involved in international intrigue. “Tom Clancy’s Jack Ryan: Ghost War” is a continuation of a television reboot, which itself was the third modern interpretation of the character’s origins. Although it’s certainly a diluted version of what Clancy originally intended Jack to be, the world that he exists in is also not the same as it was in 1989. Politics have gotten blunter, motivations have been clearer, and the powerful have become more demonstrable, so perhaps a slick, propulsive thriller like “Ghost War” is suitable entertainment for the modern age.
While produced on a budget and set at a scale that would be comparable to that of most theatrical releases, “Ghost War” was distributed on streaming, a choice that indicates a keen awareness of what its goals should be. This isn’t an attempt at relaunching the “Jack Ryan” film franchise for new audiences, but rather a scaling up of the television show, “Tom Clancy’s Jack Ryan,” which concluded in 2023 after its fourth season. The line between television and film has become murkier, given that most streaming services distribute shows that have the budget and filmmaking quality of what is released on the big screen, but the direct-to-consumer approach of “Ghost War” makes it clear that this is intended as a sequel to the series itself; it’s no different than “24: Redemption,” “El Camino: A Breaking Bad Movie,” or any number of made-for-television films made to serve as extended finales for core shows.
“Ghost War” picks up with Jack (John Krasinski) after he has left his role as an active member of the CIA, even if the agency still employs his best friend and mentor, James Greer (Wendell Pierce). Jack is coaxed into working on a CIA operation to exchange information under the condition that it will be an easy meeting, but chaos breaks out when the former MI6 agent Liam Crown (Max Beesley) stages an attack on several high profile targets. Working alongside Greer, their ally Mike November (Michael Kelly), and the MI6 operative Emma Marlow (Sienna Miller), Jack is forced to uncover a conspiracy that could weaponize the United States’ defense systems against its people.
While “Ghost War” could have easily been a shameless continuation that sacrificed a fairly satisfying ending to the television show, it does reveal something truthful about Jack that does stay-in-line with Clancy’s reading of the character. Jack has personal concerns about aligning himself with an agency that has frequently undercut the freedoms of the people it’s intended to protect, but it’s the best option he has in order to prevent existential threats. That Jack isn’t able to totally quit field work, despite claiming that it’s not his speciality, is what makes him a compelling reluctant hero. It’s something that Krasinski nails in his depiction; Jack is a bit too earnest to be a good politician, too forgiving to be a soldier, and too involved to be a civilian, so he’s uniquely suited for a role that combines the three of them. The biggest conflict Jack faces is the one to justify the means, and “Ghost War” taps into anxieties about surveillance and governmental overreach that, sadly, always remain relevant.
The notion that “Ghost War” is about the reckless ways in which governments use security as an excuse for totalitarianism is a nice way to frame the story, but at its core it’s an action film. The set pieces are well-orchestrated, with a car chase that features a remarkable use of real locations, as well as a vertigo-inducing shootout that makes use of its “Die Hard”-eque confined location. The pacing is sharp, and for what the film lacks in internal logic it makes up for in momentum; the story is a lot more straightforward than its complicated setup might seem, as it’s ultimately no more complicated than a ruthless enemy who takes advantage of institutional collapse. Even if there’s not much to Crown as a villain, the threat does feel real, thanks in part due to a more heated relationship between Jack and Greer when it comes to their respective responsibilities.
It’s ultimately the performances that make “Ghost War” a cut above than the vast majority of streaming action movies, even if the fact that the action is legible and not obscured by terrible CGI also goes a long way. Even though it’s unlikely that “Ghost War” will appeal to those who aren’t familiar with the series, the chemistry between Krasinski, Greer, and Kelly is easy to latch on to because of how felt their shared history is. Miller is an engaging presence as well; her character’s backstory is rushed in order to not dull the pacing, but Miller also has a lot of personality, and serves as a compelling counter to Krasinski’s Ryan, all without becoming another love interest. It’s the more intimate interactions between these characters that gives “Ghost War” its most distinct qualities; it begins to lose energy when attempting to say something unique about the complex relationship between the CIA and MI6.
“Ghost War” would be judged harsher if it was presented as anything more than a supersized special edition of a show, but it also doesn’t feel like a couple of episodes cobbled together. It’s packed with more adrenaline than the prior cinematic outings, but “Ghost War” is also keen to highlight that Jack isn’t a superhero; for all the talents that the film’s protagonists have, they are people who choose to do the right thing, and not those gifted with special abilities. Being fast and mostly forgettable might not seem like an endearing statement, but “Tom Clancy’s Jack Ryan: Ghost War” is the proper culmination to this specific interpretation.
