Review: Amazon’s ‘Cross’ adaptation almost gets it right

While watching the eight long episodes of “Cross,” Amazon’s latest crime-novel adaptation your dad will probably enjoy, I couldn’t help thinking about, of all things, Chappell Roan lyrics.
What does the young, newly anointed pop star have to do with a TV show about Alex Cross, the detective, forensic psychologist and hero of more than 30 James Patterson novels, two movies starring Morgan Freeman and another starring Tyler Perry?
Well, much like Roan, I’m not overdramatic; I know what I want. And Amazon is so darn close to it, it’s almost worse than if they got Dr. Cross completely wrong.
“Cross” (now streaming, ★★ out of four) is the first TV show based on the book series, and this time Cross is portrayed by Aldis Hodge in pure smoldering glory. It checks a lot of boxes in adapting the books, from Cross’ strong loyalty to his family to the Ph.D.’s innate understanding of the criminal mind.
Unfortunately, vibes is where the good parts of the series begin and end. What “Cross,” created by Ben Watkins (“Burn Notice”), doesn’t get is the addictive tension and tortuousness of Patterson’s many novels (the series isn’t based on any one book, which might explain this). So while Hodge is superbly cast and everyone is trying their hardest to tell a gripping crime story, the pacing, plotting and big reveals are all just ever-so-slightly out of tune. It leaves you with the sense that what you’ve watched is an Alex Cross cover band, not the real thing.
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“Cross” follows the detective as he investigates two crimes: The year-old unsolved murder of his wife, Maria, and the death of a local Black Lives Matter activist, which the police are eager to declare an overdose despite community outrage and evidence to the contrary. Cross has a level head about his official case, which he instantly sniffs out as far more complicated than the top brass would like. But when it comes to his wife, he can’t stop his emotions (mostly rage) from getting out of control, much to the chagrin of his best friend and partner John Sampson (Isaiah Mustafa) and grandmother Regina “Nana Mama” (Juanita Jennings), who has stepped in to raise Cross’ two young children.
With the help of Sampson, FBI Agent Kayla Craig (Alona Tal) and the begrudging Washington, D.C., police department, Cross soon discovers the murder of the activist is part of a much larger plot, and a woman’s life is on the line as he hunts down the killer. But it’s hard for Cross to focus while his wife’s murderer keeps sending him flowers and talking to his children through Wi-Fi security cameras.
The mere presence of Hodge, with his big, oceanic eyes and disarming gaze, is almost enough to support “Cross” all on its own. No offense to Perry and Freeman, but they were not what one would call the dreamiest of forensic psychologist detectives. Hodge (“Black Adam,” “One Night in Miami”) makes his Cross a constantly steaming pot of rage, close to being pushed over the edge by corrupt police bosses, murder suspects and even his own friends and family. Those eyes can be handsome or a bit crazed, and Hodge plays the wide range of his character’s emotions with sensitivity and finesse.
But it’s a shame, because Hodge is working within a shaky narrative structure full of plot holes and head-scratchers. Why does deeply bereaved Cross already have a serious girlfriend when his wife died just a year ago? Why does the star detective make such egregious mistakes as cluing in a suspected serial killer about his suspicions? Why does everyone in Washington stop caring about the murder of a Black Lives Matter activist halfway through the episodes? Why do the police officers discuss sensitive information at the booths of D.C. landmark and noted drunk twentysomething hub Ben’s Chili Bowl? (OK, that last one may just bother current and former D.C. residents like me.)
Amazon has made these ’90s-flavored detective dad shows the bread and butter of its Prime Video streaming service. The company reportedly spent more than $1 billion making a half-hearted “Lord of the Rings” prequel, but it’s “Jack Ryan” and “Bosch” the people are here to see. “Cross” seems like it easily slots into this rotation of airport-book adaptations (and Amazon has already renewed the show for a second season). People often make fun of these sometimes predictably formulaic tomes, but they can also be really surprising and nuanced stories you can’t put down, and just as good as TV shows and films that take your breath away.
This version of “Cross,” however, seems like all the worst stereotypes about the genre mashed up into a slow, overly long season of television.
It’s like a betrayal. Or maybe a double cross.