Book Review: Jack Carr’s “The Devil’s Hand” is an Infectious Thriller

By Jon Brooks 

“Luck is the residue of preparation...” 

The one thing I’ll say about Jack Carr is that the man doesn’t write the same book twice. 

A couple of weeks ago I reviewed Don Bentley’s new Mitch Rapp thriller “Capture or Kill” (read my review). In that novel, Bentley dives into the hunt for Osama bin Laden in 2011. 

When I was deciding on my next book to read, I thought that reading/reviewing Jack Carr’s “The Devil’s Hand” would serve as an interesting companion piece to Bentley’s thriller.

“The Devil’s Hand” finds former Navy SEAL James Reece training to officially join the ranks for the Central Intelligence Agency’s Ground Branch. 

“Bureaucracy was, after all, bureaucracy.” 

The opening pages of the novel have a not-too-terribly-amused Reece taking a lie detector test — a preamble to his training. The entire sequence also serves as an opportunity for Carr to get uninitiated readers up to speed on his protagonist.  

Reece dealt with a considerable amount during Carr’s first three novels (“The Terminal List,” “True Believer,” and “Savage Son”). In those books, much of the heroics came from a more personal place as readers gained insight into Reece’s life. 

This time out, the stakes are considerably higher. 

Reece and his compatriots are battling a mysterious virus that threatens peace, prosperity, and the American way. 

The leader of the free world is President Alec Christensen, a former “techpreneur” whose fiancé died in New York City during the tragic events of Sept. 11, 2001. The president knows tragedy firsthand, and tasks Reece with a secret mission during the early chapters of “The Devil’s Hand” that are designed to avenge his fiancé. 

This novel was written in anticipation of the 20th anniversary of 9/11, so the events of that fateful day in 2001 tint the undertones of the plot in this novel. 

Still reeling from the events in “Savage Son” (read my review), Reece wants to find the sniper (Nizzar Kattan) who killed Senior Chief Freddy Strain (who aided Reece in “Savage Son”). 

Reece is also trying to figure out how his relationship with journalist Katie Buranek will mesh with his life operating in the shadows (there is no shortage of evildoers who want Reece dead). 

The CEO of a shady private security contracting company (Masada Security Solutions) also figures into things, along with an irascible senator named Thwaite (who has an axe to grind with the president). 

All of these threads mix together to form the basis of the narrative in “The Devil’s Hand.” It is a taut and detailed thriller that feels like it could be pulled from today’s headlines. 

A considerable amount of Carr’s exposition in the first part of the novel focuses on various antagonists maneuvering behind the scenes. Each of those characters serves as a vessel for Carr to explore a number of historical events that laid the foundation for the War on Terror. 

Many of those sequences are reminiscent of author Tom Clancy’s 1996 novel “Executive Orders.” In fact, the notion of a viral threat to the United States is something explored with similar aplomb in “The Devil’s Hand.”  

And, in Clancy fashion, Carr provides copious amounts of research as he methodically lays the framework that guides the overall story. 

So be patient. I promise you that the payoff in the second and third parts of “The Devil’s Hand” makes the build up worth it. 

“The Devil’s Hand” was published in 2021 — a time that saw the world still reeling from the effects of the COVID-19 pandemic. Carr states that he was “well into the research for this novel before the COVID-19 pandemic gripped the world.” The author integrates the events of 2020 and 2021 into this novel. 

There was some debate in 2020 regarding whether thriller writers should infuse the pandemic into their novels. Some suggested that it might unnecessarily “date” novels. That said, I am glad Carr decided to tackle this topic. 

Questions about the power of social media — as it regards the stability of society — also comes into play as events unfold in “The Devil’s Hand”: 

“Theories without a foundation in facts or basis in reality could take flight and go viral. No barriers to entry. No editors. No fact checking, or if there was, it couldn’t be trusted; ‘fact checkers’ had biases and agendas, too, after all. The loudest voices dominated the chaos that was social media hysteria, and all of it contributed to the chaos. Suppression and censorship only fueled the flames.” 

At the novel’s core is the notion that our enemies have learned things about us the past 20 years — things that potentially put the free world in peril.

Once again, Carr’s love of Toyota Land Cruisers is on display. The FJ62 featured in “Savage Son” figures prominently into “The Devil’s Hand.” Carr mentions ICON’s restoration of the Land Cruiser (a job Carr actually had done to his vehicle in real life), along with a few upgrades. 

Carr is a well-read author. He infuses various works of fiction and non-fiction into his novels. Two books in particular play into the events of “The Devil’s Own”: T.E. Lawrence’s “Revolt in the Desert” and Peter Hopkirk’s “The Great Game.” 

I also enjoyed how Carr got a mention of thriller writer Brad Thor in there, as well as a nod to Richard Marcinko’s novel “Red Cell.” 

Even though “The Devil’s Hand” might slide on the more “wonky” side of the geopolitical thriller scale (especially in the first half), you can rest assured that there are still plenty of the visceral, action-packed moments Carr’s loyal fans have come to love — I promise you, the character does all sorts of creative things with his Winkler RnD axe! 

Jack Carr once again places himself at the forefront of today’s thriller writers. “The Devil’s Hand” proves that Carr can traverse today’s geopolitical sphere with the best of them!

If you’d like to learn more about Jack Carr and his James Reece thrillers, visit his website at officialjackcarr.com. 

NOTE: I should also mention that Carr’s first thriller “The Terminal List” is the basis of an Amazon Prime television series starring Chris Pratt (read my review). It was recently announced that a prequel series titled “The Terminal List: Dark Wolf” (starring Pratt and Taylor Kitsch) is currently in production. 

>> If you enjoyed my review of Jack Carr’s “The Devil’s Hand,” be sure to follow me on Twitter/X — @TheJonCrunch 

Related blog posts on Jack Carr: 

> TV Review: Pratt’s Performance Elevates Visceral “The Terminal List” 

> Book Review: Jack Carr’s “Savage Son” is a Modern Thriller With Retro Flair 

> Book Review: “True Believer” By Jack Carr 

> Book Review: “The Terminal List” By Jack Carr 

Previous post: Movie Review: Is “Deadpool & Wolverine” Cinema’s “Marvel Jesus” 

Movie Review: Is “Deadpool & Wolverine” Cinema’s “Marvel Jesus”?

By Jon Brooks 

“Welcome to the MCU. You’re joining at a bit of a low point.” 

It’s been a minute. 

The last time I reviewed a movie — that was showing in the theater — was “Top Gun: Maverick”… all the way back in 2022 (read my review). 

Yikes! 

Over the course of the past 24 months (gulp!), I’ve had family and friends (like Greg Smith) say things like, “I would love it if you would do a Jon Crunch review again.” 

Our friend Randa DM’d last summer hoping I’d share my thoughts on the latest “Indiana Jones” release (which I failed to do). 

For those of you who are new here, movie reviews sort of became my “bread and butter” on this blog. 

I love movies, own hundreds of movies in various video formats, have a large movie poster collection, and have spent a considerable amount of my life obsessing over all the nitty gritty details surrounding the medium. 

In sum, movies have been a big part of my life. Sign posts to look forward to each and every year. 

But for some reason, I just got tired of writing about them. 

Honestly, I just got tired of writing in general. 

And, to put it mildly, there has been a relative “dearth” of movies that have been compelling the past few years (although, a handful that would be worth revisiting on this blog). 

That said, at some point you have to get back on the horse. So saddle up, dear readers… 

Leave it to the creative mind of Ryan Reynolds to remind us why we like going to the movies. 

“Deadpool & Wolverine” follows the irreverent path that the first two “Deadpool” releases brought to the cinematic superhero world. 

This time out, Deadpool’s alter-ego Wade Wilson (Ryan Reynolds) is facing an existential crisis. 

Despite traveling to an alternate universe known as the “Sacred Timeline” to see if he could join the Avengers, and ultimately failing in that attempt (playing on the multi-verse theme that has permeated seemingly every superhero movie of late), our hero realizes there might not be a place for him. 

He has traded in his spandex suit for a stapled-on toupee and collared shirt as he pursues a career selling cars with his friend (and fellow X-Force member) Peter Wisdom (Rob Delaney). 

He has also parted ways with fiancée Vanessa (Morena Baccarin), after bringing her back from the dead in “Deadpool 2” using Cable’s time-travel device. 

The way Reynolds and director Shawn Levy handle the setup is pitch perfect. It transcends the narrative that you see on screen. 

As fans of the “Deadpool” franchise know, the character regularly breaks the fourth wall and tosses in funny quips and snark from real life. 

At play is the fact that when Disney purchased 20th Century Fox — the studio that produced the first two “Deadpool” movies, along with the “X-Men,” “Wolverine,” “Daredevil,” and “Fantastic Four” franchises — it left the future of the “Fox Marvel superheroes” in limbo. 

Those characters have lived as an “Island of Misfit Toys” as it regards the Marvel Cinematic Universe. No attempt was ever made to integrate the Fox characters into Disney’s powerful MCU. 

Disney certainly didn’t strike any sort of production deal with Fox (prior to purchase) the way they did with Sony to be able to integrate Spider-Man into the MCU. 

This fact provides a healthy (and humorous) subtext to the plot of “Deadpool & Wolverine.” 

“Fox killed him. Disney brought him back. 

They’re gonna make him do this ’til he’s 90.” 

As Wade celebrates his birthday with his friends, the Time Variance Authority captures him and takes him to meet a man named Mr. Paradox (Matthew Mcfayden). 

Paradox tells Deadpool that his timeline is crumbling because of the death of its “anchor being” Logan/Wolverine (Hugh Jackman)…something that happened during the events of 2017’s “Logan.” 

This sets up the events in “Deadpool & Wolverine.” 

What ensues is an entertaining romp as our hero attempts to save his timeline, his friends, and himself. 

It was a lot of fun watching Deadpool and Wolverine play off each other during the course of the movie. Reynolds’ “wink-wink, nudge-nudge” style contrasted perfectly with Jackman’s gruff and cynical character. 

I should note here that Reynolds played a version of Wade Wilson in 2009’s “X-Men Origins: Wolverine,” something a number of movie-goers likely didn’t realize (Wilson’s transformation into Weapon XI was a very different version of Deadpool than we have today). 

It was also fun to see Wolverine finally don the blue-and-yellow suit the character wore in the comic books (something they tried to tease in a deleted scene featured on my Blu-ray copy of 2013’s “The Wolverine”). 

In an age of reboots, it is amazing that Jackman has played the character this long. It was really perfect casting all those many years ago.  

There are also some terrific cameos in “Deadpool & Wolverine.” I won’t spoil them here, but they provide some fun “fan service” moments in the movie (and I was totally there for it). 

One would imagine that there is a considerable amount of improvising as the cameras roll on these “Deadpool” movies. Director Shawn Levy deserves a considerable amount of credit for holding it all together. 

Levy has an eclectic and extensive background. 

He got his start in television and helmed light comedies during the early stages of his career, working on family-friendly fare like Steve Martin’s “Cheaper by the Dozen” and the first three “Night at the Museum” movies. 

In addition, Levy served as executive producer on the sitcom “Last Man Standing” (a personal favorite of mine) and Netflix’s “Stranger Things” (also a favorite). 

In recent years, he has collaborated with Reynolds on the movies “Free Guy” and “The Adam Project.” 

In “Deadpool & Wolverine,” Levy helps find the right recipe that mixes the franchise’s well-worn “raunch” with a narrative that should appeal to a much broader audience. The overall effect is something that feels less “niche” in nature. 

The movie uses pop music to great effect — so much so that each song manages to strike home key plot points. While this trait was on display in the previous “Deadpool” movies, it was even better this time out. 

And if you’d told me that a Honda Odyssey minivan would serve as a key plot point in film (and sort of become a character of its own) I would have thought you were nuts. 

But here we are… 

The overall result is one of the more creative theatrical films we’ve seen in the past five years. Thank goodness! 

“I didn’t lie. I made an educated wish.”

In recent years, superhero movies have felt like they were treading water. It seemed that these sorts of franchise films had hit their zenith with 2019’s “Avengers: Endgame” (read my review), and that the current trajectory seemed to be a long, slow descent into box office oblivion. 

I’m kind of disappointed that I didn’t write a review of 2023’s “Ant-Man and the Wasp: Quantumania” so I could remind myself what a dumpster fire that movie was, and what a low-point it was for the genre (and don’t even get me started on “Thor: Love and Thunder”).  

The genre still has a long way to go… 

I’m not suggesting that Deadpool is “Marvel Jesus” (as the character refers to himself in the film), but considering how things have been going recently, he comes pretty damn close. 

“Deadpool & Wolverine” gives us hope that Hollywood can still make crowd-pleasing superhero movies — films that demand to be viewed in a theater with other fans. 

Rated R. Runtime: 2 hr 7 min (Be sure to watch through the credits!) 

>> If you enjoyed my review of “Deadpool & Wolverine” and would like to experience more great content, please follow me on Twitter/X: @TheJonCrunch 

Previous post: Bentley’s “Capture or Kill” Gives Flynn’s Rapp Series a Shot of Retro Adrenaline