Film Review – Back in Action

Back in Action

Back in Action

The title of Back In Action (2025) acts as a double meaning for both of its main actors. For Cameron Diaz, this marks her first starring work in a decade, having enjoyed a semi-retired life during that time. For Jamie Foxx, this was the project that had to be delayed due to him suffering a serious health scare. While it’s nice to see these two together again – after Any Given Sunday (1999) and the Annie (2014) remake – it’s unfortunate it had to be in such a forgettable and unfunny action comedy. This is a film that badly lacks any inspiration or creativity. It goes through the motions of the genre without doing anything new or exciting. Diaz and Foxx may have had fun teaming up, but that doesn’t make for a fun viewing experience.

Let’s not get it twisted: Diaz and Foxx are two of the most charismatic actors in the business. She has a signature sunny disposition that draws us in, and he has the charm and proven comedic chops to keep us engaged. As separate performers, they have the presence to carry any film. What’s so shocking about them here is that those qualities are drained away. The two play Matt (Foxx) and Emily (Diaz), CIA spies that have left the world of espionage to get married, assume new identities, and raise a family in suburbia. Right away, we notice a severe absence of romantic sparks. As much as they say that they love each other, they exhibit zero chemistry. They move and act more like work buddies than actual lovers. Sure, they may trade humorous punchlines once and awhile, but we never believe them as a couple.

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The same goes for the rest of the picture. Director Seth Gordon (who also cowrites with Brendan O’Brien) structure the narrative as a half-baked juggling act, going between Matt and Emily trying to evade enemies once their cover is blown, and dealing with their teenage kids Alice (McKenna Roberts) and Leo (Rylan Jackson). There is a tiny bit of an idea when it comes to the generational divide between Matt, Emily and their kids. As much as they try to build a bridge, Alice and Leo view them as old and out of touch. Conversations regarding screen time and internet use can strike a chord for any parent in a similar situation. Sadly, that’s the extent of insight in terms of character dynamics. In fact, when the danger escalates, forcing Matt and Emily to move the whole family to England, Alice and Leo become nearly non-existent characters. They get relegated to mere targets for assassins.

So, if Foxx and Diaz have little sizzle and the family storyline goes nowhere, is the action serviceable, at least? The answer is a resounding “No.” The way in which the narrative is structured, action beats have such little impact that they feel sprinkled in merely as time filler. An opening flashback, where we see the mission that ultimately causes Matt and Emily to go into hiding, is supposed to start things off on a high note. A fight scene taking place on a plane is meant to put us on the edge of our seats but is so badly rendered that it looks ridiculous. The awful CGI takes us out of reality immediately. The tension dissipates because we can see how phony the action is. How are we supposed to believe that Matt and Emily are fighting for their lives thousands of feet in the air if everything looks like it was shot against a green screen? 

The flashback sets the precedent and the film never recovers from it. In fact, things only get worse. The writing, direction, and editing shift into neutral, causing the plot to repeat itself as things unfold. One of the most egregious choices comes in the use of music. In nearly every action scene, the accompanying music sticks out like a sore thumb. During the previously mentioned fight scene on the plane, we hear Dean Martin singing “Ain’t That a Kick in the Head” – because Matt and Emily are actually kicking and punching bad guys in the head, get it? When Matt uses a gasoline hose and lighter to create a makeshift flamethrower, Etta James’ “At Last” is overlaid. I suppose that’s meant to be ironic but ends up being annoying. Examples like this happen constantly and with very little variation.

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It’s a shame how poor things turned out given the talent of the cast. Kyle Chandler appears as Chuck, Matt and Emily’s handler. He makes the most of his limited time, turning Chuck into a more important figure than we might anticipate. Andrew Scott, fresh off his critically acclaimed work in All of Us Strangers (2023) shows up as an MI6 agent on hot pursuit of Matt and Emily once they arrive in England. Scott is given absolutely nothing to do except show up at convenient times. His skillset is wasted in a nothing part. If there is a saving grace, it is Glenn Close as Emily’s British mother. Close seems to be the only one who understood the assignment, giving the character as much life and energy as anyone possibly could. 

For a Netflix production headlined by big stars, Back in Action isn’t the disaster Red Notice (2021) or Atlas (2024) were, but that doesn’t mean it’s good. This was a bland, unremarkable movie. Everyone involved deserved better. I’m glad that Jamie Foxx is in good health, and I’m happy to see Cameron Diaz working again. The film industry is better when they are both involved in it. If we see them together for a fourth time, I sure hope it’s for a project worthy of their abilities.

C-

FINAL GRADE: C-

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Allen is a moviegoer based out of Seattle, Washington. His hobbies include dancing, playing the guitar, and, of course, watching movies.

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