Susan Granger's review of 'Alex Cross'
Published 11:11 am, Tuesday, October 23, 2012
Cross -- and he was quite believable.
Now, that role has been mistakenly turned over to Tyler Perry, best known for writing, directing and starring in the cross-dressing "Madea" franchise. Unfortunately, multi-talented Perry lacks the requisite gravitas that Freeman brought to the role.
Set in Detroit, trenchcoat-clad Alex Cross is on the trail of a savage, sadistic psychopath known as Picasso (Matthew Fox) because of the weird, cubistic charcoal sketches that he leaves at the scene of his tortured murder victims, who are culled from the city's ultra-rich, upper classes.
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But soon the homicidal peril becomes personal, as the executioner targets Cross' friends and family. According to his longtime friend/partner, Thomas Kane (Edward Burns), Cross is so brilliant that he should have no problem putting these surrealist clues together. But, as portrayed by Perry, that's difficult to believe.
That focuses attention on the bare-headed, tattooed villain, which Fox (TV's "Lost") plays with a visceral intensity. A bare-knuckle boxer, this creepy serial killer is also known as "the Butcher of Sligo," and it's inferred that he has a congenital insensitivity to pain. (That device was also an integral characteristic of an antagonist pursuing Lisbeth Salander in Stieg Larsson's "The Girl Who Played With Fire.")
Filled with sexualized violence against women and grimly gruesome action sequences
On the Granger Movie Gauge of 1 to 10, "Alex Cross" is a floundering 4, perhaps best remembered as Tyler Perry's first lead role in a film that he didn't write, direct or produce.