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That only stare we're focused on at that point is Fox's abrasive gaze. When Alex Cross does eventually get "crossed," that pensive look should turn to the determined stare of a man on a mission. However, Alex Cross is very much outside his wheelhouse, and what should come off as the pensive look of a genius working on a puzzle ends up looking more like a man trying to remember his lines. It may come as a shock, but Tyler Perry is a good actor, and when he's working in his wheelhouse he seems to lose everything in his characters. It's left to Perry to make the investigation somewhat believable, and he tries so hard to get it right.
Remember the "pulling clues from the air" line? That's no exaggeration. And if the action scenes here are awful, the depiction of the act of investigation is abysmal. It all might work a little better if it weren't so predictable, seemingly chopping up bits from other movies and supplanting them here for your entertainment.
Instead, Cohen shoots it like he does gunfights or car chases, with little thought in what needs to go up on the screen and even less care with if it works.
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An early MMA fight should have been touting the amazing hand-to-hand choreography the rest of the movie would offer, but it doesn't.
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The rest of the film is loaded with the same point-and-shoot care that can be found in such classics as Stealth or The Mummy: Tomb of the Dragon Emperor, both former Cohen films and both much more intriguing than this one.Īction sequences pop up here and there, usually for little reason other than it's been about 15 minutes since the last one, and the director never seems to have a handle on how to capture it. It's the only area in the film where it seems Cohen makes the right choice, and it seems to just be a matter of leash-loosening he does for the actor. That's when the movie serves as a comedy.Īnd it works just as long as Cohen allows Fox to be as wacky, insane, psychotic, and any other technical terms for crazy that the actor chooses to be. As it is the most notable character in the film becomes Fox's eyes. Evidently their character wasn't memorable enough to even mention in the third act. One main character's demise is revealed via a photo and hardly even alluded to after. The screenplay for Alex Cross definitely doesn't, and darker moments come and go without even a tick on the emotion scale. Patterson's novel, "Cross" - Which I haven't read, but I did read through a few Patterson novels at an age where I was only in the shallow end of storytelling - surely didn't have grand gestures of literature-making or deep crevasses of fully developed characters, but that's just an assumption. Nearly every aspect of Alex Cross is standard thriller chum, plot points and characters tossed without care into ever-deepening ocean of boredom.
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The procedural of hunting down a sadistic hitman and the violence that ensues is the real bread-and-butter in Alex Cross, and its Cohen and his crack team of screenwriters to make that come off as interesting or, God forbid, exciting. All of that is development found in the film, but none of it factors in enough to add any real weight. Or it could have included some information about Cross' relationship with his wife, who has just made him privy to her pregnancy. The synopsis could have included some little tidbits about Cross wanting to move his family out of Detroit and into Washington DC, where an FBI job is waiting. Yeah, that pretty much read like the inside flap of a James Patterson novel, and yeah it's pretty thin. Cross and his team must track the killer down before he can complete his list, but the tables turn when the detectives find the cross-hairs aimed at them. His latest involves an assassin working his way down a kill list.
Perry steps in as the title character, a homicide detective and criminal profiler who pulls clues out of the air and works them nicely into the case at hand. Matthew Fox's crazy eyes can't even bring entertainment to what ends up a lazy and numbing experience, but he is easily the best part. Tyler Perry is no Morgan Freeman, either, but even with all of this working against this film, it still finds a way of shocking you with how utterly dull and uninteresting it all is. Director Rob Cohen and his screenwriting team weren't working with the deepest material when it came time to make Alex Cross, rebooting a franchise that began with Kiss the Girls and Along Came a Spider. It's not that James Patterson's original novels were great philosophical masterpieces.
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