World War Z
The Bling Ring
Jack the Giant Slayer
21 And Over
[Perry] has rarely been less convincing than when locking and loading from his home arsenal or dangling from a decaying Detroit edifice.
| Original Score: 1/5
Alex Cross is coarse, punishing, and, in all the ways that matter, conscienceless ...
So cloddish, slapdash, gracelessly written, and visually fugly that it's difficult to distinguish Perry's limitations in the role from those of the whole unpleasant enterprise.
| Original Score: D
A strong candidate for dumbest film of the year ...
For a franchise with an off-the-charts nuanced thinker as its protagonist, Alex Cross isn't very smart.
| Original Score: 1.5/4
Perry's supposed to be its center. And as an actor - certainly as a movie star - he's absolutely nowhere to be found.
| Original Score: 1/4
Tyler Perry finds it easier to step out of Madea's dress than into Morgan Freeman's shoes in the thriller Alex Cross, a trite attempt at franchise building.
Stripped down to his undershirt or brandishing an assault rifle, Perry looks both incongruous and ridiculous - an icon out of water.
It feels almost cruel to laugh at such a blindly stumbling, dunderheaded action-thriller, but you won't be able to help it.
| Original Score: 0.5/4
There's still a marketplace for a smart, well-crafted cat-and-mouse thriller. But "Alex Cross" isn't it.
Cohen squanders a surprisingly recognizable cast on a half-baked plot adapted from James Patterson's series of novels.
The first thing you'll want to know about "Alex Cross" is: Can Tyler Perry carry it off? The answer is: Sort of, but not really.
| Original Score: 2/4
"Alex Cross" is a good example of what a seriously talented director can do with a heaping pile of garbage.
The opening scene of "Alex Cross" serves notice of what's to come by taking us down into a Detroit sewer.
A grim, dispiritingly stupid waste of time, energy, money and talent ...
[Cross] has a really bad temper, really big guns and really bad dialogue. He will use all of them excessively if pushed.
As goofy as it is gruesome.
From its cliché opening -- an irrelevant gun battle and chase -- to its derivative climax, this is a film with decades of dust on it.
If I hadn't had to stay awake, I would have slept though the whole thing. At home.
Perry is a likable presence, but the movie around him is such a mess that he never gets to prove his potential.
| Original Score: 2/5
Cohen's resume argues that he's a better action director than this; the laziness is inexcusable. The denouement is easily decoded and suitably cheesy.
Clichéd, improbable, and frequently risible.
The movie is ugly in spirit and looks. All Alex Cross spiked was my appreciation for Morgan Freeman, the original cinematic Alex Cross.
Formulaic serial-killer crapola ...
Perry is no more out of his depth here than anyone else in the cast.
Somebody got it wrong. A lot of people got it wrong. And the result is one of the most ridiculous, laughable ...
Picture Alan Alda in the title role of "Dirty Harry," and you have a good idea why Tyler Perry playing a hard-edged cop in "Alex Cross" doesn't work.
"Alex Cross" is a grim yet silly piece of work, even as serial-killer thrillers go.
The closer Cohen rams the camera to his pummeling actors, the more you don't know what's actually transpiring.
The direction by Rob Cohen is so careless that the film's climax is set up by a car crash that, if I am not mistaken, is completely coincidental.
If you've seen Tyler Perry's Good Deeds or Tyler Perry's Why Did I Get Married Too, you know that a non-Madea Perry barely registers on the screen.
Tyler Perry should not give up his day job. At least not until he chooses better dramatic vehicles for branching out.
Casting Perry as Cross was a bad idea, though it's not necessarily the worst in a movie built on bad ideas.
You almost feel sorry for Tyler Perry, stepping out of his own universe for the first time to try to expand his range and finding himself in something as thoroughly dismal as Alex Cross.
The director acquits himself on the action front, but makes the simple procedural elements feel wooden and melodramatic, particularly in sappy home-life scenes.