Cross Series Review: A gripping detective story with a big, beating heart

Five minutes into the Prime Video show Cross, Detective Alex Cross (Aldis Hodge) witnesses the gruesome murder of his wife Maria (Chauntee Schuler Irving) at the hands of a mysterious killer. The personal loss proves overwhelming for Cross, a celebrated detective with an eye for detail. It affects his focus and makes him vulnerable. This personal angle makes Cross more than just a juicy, albeit familiar, detective story. It not only makes Aldis Hodge’s titular protagonist nuanced and layered but also adds plenty of intrigue to his quest for a serial killer and his wife’s murderer while delving into the psychological toll of detective work.

Creator: Ben Watins

Cast: Aldis Hodge, Isaiah Mustafa, Ryan Eggold, Jennifer Wigmore

Streamer: Prime Video

Thankfully, creator Ben Watkins and his co-writers reveal the serial killer, Ryan Eggold’s Ed Ramsey, very early on in the show. They do not use any cheap tricks to deceive the audience about the identity of the killer so that they can propel the detective plot. They leave all the tricks up their sleeves for the latter portions, just when you start to feel that Cross has the upper hand over the city’s criminals. Ramsey, for one, operates with a unique motive, mimicking infamous serial killers. Cross and his DC Metro Police colleagues describe him as the ‘fanboy killer’. The makers do not provide Ramsey with a backstory to justify his actions, and rightfully so. Ramsey is what he is: an evil killer with a creepy penchant for the human body. The lack of a backstory only amplifies his evil. Eggold’s expressive eyes signify the deep sense of reverence Ramsey has for other notorious killers like him. It is a delight to watch Ramsey prey on the vulnerability of Cross as he plays a cat-and-mouse game with the detective, who grieves with a profound personal loss.

Ramsey's philanthropic facade makes him a popular figure among DC's elite. Ramsey’s class and racial privilege contrast sharply with Cross's, allowing him to manipulate public opinion. For instance, at a key plot point, it does not take Ramsey much to expose Cross’s momentary indignation and paint a bad picture of him. At the same time, there is a massive uproar among DC’s black community demanding justice for Emir Goodspeed (Donovan Brown). It instantly reminds you of the George Floyd incident from 2020 and the subsequent Black Lives Matter movement. This, and a reference to COVID, means that Cross is as much a product of its own times as one based on James Patterson’s series of books, which has been around since the early 1990s.

Unlike some of the Alex Cross adaptations featuring Morgan Freeman, Hodge’s version of the detective is a more well-rounded character both on the personal and professional front. His ability to build killer profiles in a jiffy and penchant for connecting breadcrumbs from old films, such as Robert Mitchum’s Night of the Hunter, show that he is not only an intelligent detective but also a man with sophisticated taste in art. Cross is also quite compassionate, an aspect that Hodge convincingly brings out even as the character’s brooding intensity and occasional inclination towards violence seem to stand out overwhelmingly. The actor shows his range in the show's tranquil moments, such as when he returns home from an intense day at work, plays the recording of his wife’s favourite song, Chaka Khan's ‘Love Me Still’, and retreats into his deepening solitude.

Another notable character in Cross is Isaiah Mustafa’s Detective John Sampson, the titular character’s long-time colleague. It is fascinating to see how their dynamic grows over the course of the show. At the start, Sampson tells Chief Anderson (Jennifer Wigmore) that he trusts Cross’s instincts because they have been colleagues for 30 years. The longevity of their relationship becomes evident whenever Sampson urges Cross to visit a therapist and get to grips with himself as his two cases take a toll on him. Still, it is only towards the end of the show that you realise the depth of their bond (there is a clever throwback to the Tom Cruise-Renee Zellweger film Jerry Maguire here).

The show still does not fully explore some of the other relationship dynamics, such as the one between Cross and his love interest Elle Monteiro (Samantha Walkes). But despite devoting very little time to it, the makers manage to deftly depict Cross's equation with his children Damon Cross (Caleb Elijah) and Regina Cross (Juanita Jennings). Hopefully, Watkins and his team build on these angles and flesh out these characters a bit more in the second season of the show. While the series does not offer a groundbreaking plot or character development, it effectively portrays Cross's journey towards mental well-being through therapy.

All in all, Cross is an effective start to a series adaptation of a beloved book series. The show thrives on the brilliant performance from its fine ensemble cast, an engaging storyline, and its intriguing juxtaposition of soft music before every other moment of gruesomeness or shocking revelation.