A good adaptation is multi-dimensional. It requires a convergence of factors that causes audiences to nod in satisfaction. In “Cross,” the upcoming series based on the Alex Cross novels by James Patterson, the leading man, source material, and setting form a conspiracy–one that draws us into the shadowy spaces of both serial killers and the human psyche.
The first of those factors is Aldis Hodge, star of “One Night in Miami…,” “Black Adam,” and many more. A star-in-waiting since his early days playing a grifter on TNT’s “Leverage,” Hodge exudes charm combined with depth and versatility that allows him to pivot from smiles to rage with equal believability. Those qualities could have seen him lead a franchise as the DC Comics hero Hawkman. Instead, they make him a match for Alex Cross, a character fans adore but haven’t seen fully embodied from the page to the screen. Yes, Morgan Freeman set the table in the first two film adaptations, “Kiss the Girls” (1997) and “Along Came a Spider” (2001); Tyler Perry took another turn in the 2012 reboot “Alex Cross” — but which Cross does it best? Allow me to present my case.
The Alex Cross books have thrilled readers with cold-blooded crime since they hit the shelves in 1993. In a character arc spanning over 30 novels, the brilliant forensic psychologist and detective Dr. Alex Cross cracks complex cases while dodging his hard-lived past. The books blend psychological chills with characters that anyone might call family. Another factor is Washington, DC—Southeast DC, specifically—and that specificity is necessary.
Those are the challenges creator and showrunner Ben Watkins accepted in adapting a third version of the character for Prime Video. If any of those factors were wrong, razored commentary from fans of the originals is inevitable. Watkins stands unafraid. His “Cross” is three-dimensional, spiky and introspective, with a streak of genuine creepiness shooting through the murky waters of DC crime.
The series starts in The Wharf area of the city before the death of Maria Cross (Chaunteé Schuler Irving). We witness her murder in real-time, leaving us with questions. Who? Why? Were they targeting Maria or her husband, Alex? After a time jump, we meet him on the job. Here, in an interrogation room, the show is clever in establishing Alex’s proficiency in picking apart clues and breaking suspects’ minds. By this point, he’s already a famous psychologist and consultant for the FBI, but his ruthlessness presents a dilemma: should we giggle or be concerned for the criminals? (I suggest option one.) The opportunities for laughter continue, but they become increasingly anxious when a missing community activist turns up dead in his car and the body has been … changed.
As the cases intersect and the suspects multiply, our initial glimpse at the unbothered Alex Cross gives greater focus to his unraveling. His swaggering machismo that was initially applause-worthy gives way to struggles with trauma and fear as the emotional stakes rise. In an intense moment, he nearly makes a fatal mistake inside his home. That drop in his defenses causes our compassion to rise.
Alex isn’t riding solo. Isaiah Mustafa steps in as John Sampson, Cross’ ride-or-die for life. Anyone with a lifelong best friend will recognize the truth in the duo’s portrayals. Their banter is punctuated with “remember when” jokes and unspoken Rock, Paper, Scissors matches. Their loyalty is unmatched, but they never allow the other to take a misstep, no matter how much it hurts. Mustafa is set to be an audience favorite. It won’t be a first for him. Early on, he was “The Man Your Man Could Smell Like” for Old Spice, proving he’s as versatile and engaging as Hodge.
Raised by his grandmother, the warmly unshakeable Nana Mama (Juanita Jennings), Alex is blessed with a family worth fighting for. Adding to the stakes, he and Nana Mama are raising his two children, Janelle (Melody Hurd) and Damon (Caleb Elijah). Although his wife still rules his heart, symbolized by the recurring refrains of “Love Me Still” by Chaka Khan and Bruce Hornsby, there seems to be room for an old friend named Elle Monteiro (Samantha Walkes). Agent Kayla Craig (Alona Tal) is another friend who feels like family, despite her doubtful motivations.
With the hordes of thrillers out there, the interpersonal relationships are why the events in “Cross” matter. Interactions with bosses Chief Anderson (Jennifer Wigmore) and Lt. Oracene Massey (Sharon Taylor); sidestepping rivals like Det. De Lackner (Stacie Greenwell) and Det. Vega (Mercedes de la Zerda); and sizing up the power-seeking Ed Ramsey (Ryan Eggold) or the charismatic Bobby Trey (Johnny Ray Gill) are central to the plot. The incisive writing induces shivers whenever a bond is threatened or shredded. That’s true of the villains, the misdirects, and the antagonists, too. They’re diabolically twisted and deliciously complex.
“Cross” dissects the psyches of the hunters and the hunted while giving us a tour of DC that’ll alarm the Tourism Board. Every visit to landmarks like Ben’s Chili Bowl for their stress-relieving banana pudding or smile-inducing half-smokes is countered by the shadowy exploits of wealth, discrimination, and toxic ambition. That is a compliment. While the actors trained with DC psychologists and detectives, Watkins and his creative team felt responsible to honor the city as more than a compilation of monuments. That commitment shows. DC’s culture is alive in every episode.
This series thrives in its dimensionality, becoming more than a “good adaptation.” After years of cinematic efforts to bring a beloved literary character to life, we can finally say “Cross” is killer.
Whole series screened for review. Premieres on November 14th on Prime Video.
