If Summit Entertainment is hoping that Alex Cross is going to start another popular film franchise (the almost finished Twilight series is theirs), that hope is misguided. James Patterson’s inimitable forensic psychologist-detective was played in two previous films (Kiss the Girls, Along Came a Spider) by Morgan Freeman, but since Freeman has long since become too old for the role, the decision was made to start again, this time with Tyler Perry essaying the part.
Tyler Perry is an intriguing choice to play Alex Cross. Best known for writing and directing a plethora of black-oriented family dramas and for donning a dress to play “Madea” in a series of comedies, Perry would seem an unlikely Cross. But his strong popularity, handsome appearance and relentless work ethic worked in his favor, so he got the part. Is he the best Alex Cross that could be found? No. Perry’s acting ability is not top-notch, though he is convincing enough to be acceptable. However, the idea of him tent-poling a serious thriller franchise is not one that I would have invested in, had I been asked.
Perry, however, is the least of the film’s issues. As directed by Rob Cohen, Alex Cross is simply not a very serious film. Its subject and atmosphere are decidedly serious, but the PG-13 film glosses over the sociopathic violence and gruesome forensic clues without much detail. Actually, there is far too little detail in this would-be detective film to be convincing to the least discriminating viewer. Cohen keeps the action moving, except for an expansive middle segment that delves into Cross’ grief when his personal life tragically intersects with his detective work.
Cohen’s determination to keep the action moving results in one important secondary character simply disappearing (her fate is clear but no one takes the time to grieve for her) and plot twists that are so illogical and coincidental that they cannot be believed. Matthew Fox shines as the psychotic killer, easily outacting everyone else in the picture, almost to the point that I hoped he would get away with his misdeeds. If he could succeed in killing Alex Cross, of course, there would be no need for any other mediocre adventures. Alas, that was not to be.
A climactic action sequence is just about ruined by Cohen’s failure to heed the laws of physics and a massive special effects explosion that was laughably unconvincing. And, of course, the Sherlock Holmes-esque brilliance of Cross leads him to the killer just at the exact moment that he is making his getaway. It’s all a bit too much, and Tyler Perry is just not enough, and the result is, like V. I. Warshawski two decades ago, another botched opportunity to bring a popular literary detective to life while creating the foundation for a lasting film series. ☆ ☆. 6 November 2012.