Tyler Perry stars as the title character in 'Alex Cross,' a crime drama based one of the books in the series by novelist James Patterson. (Photo by Summit Entertainment)
In "Alex Cross," Tyler Perry trades his "Madea" wig for a police badge, which is in and of itself an interesting development, as the New Orleans native has previously appeared reluctant to stray too far from the cross-dressing comedy role that made him a star -- and a millionaire. But along the way, director Rob Cohen's crime thriller also hints at why that's been the case.
Apparently, that "Madea" wig imparts a Sampson-like power upon its owner. When he's wearing it, Perry is dynamic, he is forceful, he is animated. Without it, he lacks both energy and screen presence. If any given "Madea" performance sees Perry's acting range from 1 (marking the height of his elation) to 10 (the height of his fury), in "Alex Cross" he keeps his emotional dial parked solidly in the 3-to-7 range.
The result is a serviceable, but far from memorable, performance in an unremarkable movie that would make a far better TV pilot than a feature film.
Of course, part of that is because Perry has the unenviable role of trying to fill the shoes of Morgan Freeman, who twice previously played the same character, in 1997's "Kiss the Girls" and 2001's "Along Came a Spider." Few actors can impart the same gravity and on-screen credibility that Freeman does by his mere presence. Fewer still would be able to do so when working with the toothless script that Perry and Cohen have been handed.
Based largely on the James Patterson novel "Cross" -- the 12th book in the ongoing "Alex Cross" series -- it lacks any sense of driving momentum and any sense of originality, which makes it indistinguishable from any run-of-the-mill cops drama.It's a shame, because Alex Cross isn't your ordinary police detective. A homicide investigator and psychologist, he's got a bit of James Bond to him, along with a lot of Sherlock Holmes. Suave and smart, he relies on his above-average intellect and extraordinary powers of observation to track down the bad guys.
"Are you thinking what I'm thinking?" his police partner, played by Edward Burns, asks him at one point in mid-investigation.
"I'm always thinking what you're thinking," is the response.
In fact, Cross is always thinking what everybody is thinking, and often before they realize they're thinking it. We know this, because Perry's self-consciously cool performance seems styled to remind that his Cross is -- in addition to being a Very Serious Man -- the smartest guy in the room. Always endearing.
At any rate, that means it won't take him long to zero in on his latest target, a sadistic assassin who chemically paralyzes his victims -- leaving them immobile but by no means numb -- before torturing them for his own amusement. He's the kind of villain who, as brilliant as he is, can't help but to engage in that only-in-the-movies practice of leaving behind a clue to taunt the cops. In this case, it comes in the form of cubist charcoal sketches that earn him his nickname: Picasso.
Naturally, Cross deciphers the clues -- but when he closes in on Picasso, things become personal and our movie goes from being a cat-and-mouse thriller to a revenge picture, as Cross goes rogue to settle the score once and for all.
Picasso is played by Matthew Fox ("Lost"), who lost some 35 pounds for the role, giving him a near-emaciated look that only accentuates his evilness. Here, his face is all sharp angles and sinister smiles that make him appear every bit as serpentine as the throbbing vein slithering up his forehead. It's a remarkable physical transformation, and one that signals an admirable commitment to the role. Like Perry, though, Fox's performance ranges from predictable to unremarkable.
The resulting film, despite its occasional outbursts of action and tension, is less an action film than a psychological thriller, although even there it fumbles the ball. The most fascinating thing about a story like this -- that is, one about a smart and psychotic killer being tracked by a shrink -- is what's going on in the killer's head. Why does he do what he does? What made him the monster that he is?
"Alex Cross" doesn't seem at all interested in answering -- or even asking -- such questions. Rather, it opts for a clumsy and messy argument that the ends justify the means. And even then it glosses over the fact that Cross has to barter a little piece of his soul in the process.
Obviously, the producers of "Alex Cross" have high hopes for a franchise -- and they might get it yet. If there's anything the "Madea" films has taught Hollywood, it's to not underestimate the power of Perry.
If a sequel does happen, however, I have one suggestion: give Perry his wig back. Because "CSI: Madea" seems far more appealing to me than another film like the slack "Alex Cross."
_________________
ALEX CROSS
2 stars, out of 5
Snapshot: A crime thriller about a crackerjack police detective whose hunt for a psychotic killer becomes personal. Based on "Cross," the 12th novel in James Patterson's "Alex Cross" book series.
What works: Matthew Fox's physical transformation to play the villain - which saw him lose 35 pounds -- is remarkable.
What doesn't: The script is slack and, like the performances, undistinguished.
Starring: Tyler Perry, Fox, Edward Burns, Rachel Nichols, Jean Reno. Director: Rob Cohen. Rating: PG-13, for violence including disturbing images, sexual content, language, drug references, and nudity. Running time: 1 hour 41 minutes. Where: Find New Orleans showtimes.
Source: http://www.nola.com/movies/index.ssf/2012/10/alex_cross_movie_review.html
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