Cross Season 1 Review

Season 1 of Cross premieres Thursday, November 14 on Prime Video.

Amazon continues to expand its alliance of airport-fiction avengers with Cross, plucked directly from the pages of author James Patterson’s bestselling crime novels (and joining the likes of Jack Ryan and Reacher on the streamer). Part police procedural, part psychological thriller, Cross admittedly isn’t as action-packed as its other paperback-inspired Prime Video peers, but it is a tight and satisfying slow burn that does pierce through the crowded cop-drama genre thanks to star Aldis Hodge’s outstanding performance as the titular Alex Cross.

For the uninitiated, Alex Cross is an uncommonly brilliant Washington, D.C. homicide detective and the protagonist of over 30 books dating back to 1993. For the purposes of this TV series, however, Cross is not based on any one particular novel. Fans needn’t worry; all the background building blocks of Alex Cross himself are here, and he remains a widower and father of two with a Ph.D. in psychology. He’s thankfully still based in D.C., too (unlike the failed 2012 reboot film featuring Tyler Perry, which transplanted the character to Detroit for absolutely zero gain). The intro montage that makes D.C. itself feel like a supporting character in the show is a clever launchpad for the series and, despite their otherwise huge differences in tone, it certainly feels like a reverential nod to the iconic intro of Beverly Hills Cop.

There are also some casual, early references to a past case that smartly help establish that Alex Cross is already somewhat of a star detective at the start of the series. While these moments invoke the first Cross novel, Along Came a Spider, the central mystery of Cross season 1 is a totally original story – and it’s a smart play. As a particularly ravenous reader of Lee Child’s Reacher series, I’ll readily admit I’ve loved seeing those existing books come to life in the TV series, because I’m a simple man and I’m primarily aboard to watch a six-foot-five immovable object stomp some heads. However, opting for something fresh for all viewers of Prime’s Cross means both longtime readers and those unfamiliar with the books will each be on the same page, so to speak.

We obviously want to say as little as possible about the mystery itself, suffice to say it does ultimately involve a horrifically twisted serial killer – the reveal of which comes as a lovely piece of dramatic irony after one character patronisingly quips to Cross that not every case he works is The Silence of the Lambs. There’s also a second thread related to a Cross family stalker, but the episodes juggle these multiple dilemmas skillfully. While a second season of Cross has already been greenlit, both of these storylines appear mostly wrapped by the end of the eight-episode debut. As a result, despite not being based on a specific Patterson work, Cross certainly captures the feel of a book by being largely self-contained and eschewing any cheap TV cliffhangers – although the final episode does feel a little rushed as it ties up loose ends. A couple of developments feel handwaved off as a result.

The season stumbles occasionally, particularly with one villainous turn that’s a fabulous shock but falls apart under the mildest scrutiny. But one thing I can’t fault is Hodge’s excellent work in the leading role. He expertly brings to life what’s easily the best and most nuanced on-screen version of Alex Cross to date. While watching the athletically built Hodge spar in the gym with his hulking co-star, former American football player and shirtless Old Spice pitchman Isaiah Mustafa, it may superficially seem like the producers have benched Hollywood’s old Morgan Freeman template for someone who simply looks like he could bench Morgan Freeman. However, not only is Hodge a far better physical fit for the role as the character has always been described, he delivers a wonderfully layered performance.

Hodge’s Cross is smart and suave, and he’s uncompromising in his pursuit of facts; a relentless manhunter. But there are also moments when he is exposed and vulnerable, and Hodge rides this pendulum with great skill. There are times throughout season 1 when Cross completely loses his cool, and others where he’s sweetly compassionate, tender, and fatherly. The character’s conversations with his children Damon and Janelle feel particularly authentic.

Hodge is ably supported by strong showings from his co-stars, not least of which include the aforementioned Mustafa as Cross’ childhood friend and fellow detective John Sampson. In previous adaptations, Sampson has either been sidelined or deleted entirely, so it’s great to see him here. Relaxed and affable, but stern and intense when necessary, Mustafa shines in the role – especially towards the season’s end. As a sucker for a great needle drop, I appreciated that he’s also the catalyst for a particularly strong song selection in the season finale. It may sound a little cheesy in the context of an otherwise serious show, but I was entirely into it considering what letter of the alphabet most resembles Alex’s surname. (You’ll know it when you hear it.)