A congressman's daughter under Secret Service protection is kidnapped from a private school by an insider who calls Det. Alex Cross, sucking him into the case even though he's recovering from the loss of his partner.
High powered lawyer Claire Kubik finds her world turned upside down when her husband, who she thought was Tom Kubik, is arrested and is revealed to be Ron Chapman. Chapman is on trial for a... See full summary »
Jessica, whose father was a serial killer, is a police officer. While investigating a murder, she finds herself in the centre of her own investigation, when her former lovers start dying around her at a furious pace.
Samuel L. Jackson,
CIA analyst Jack Ryan must thwart the plans of a terrorist faction that threatens to induce a catastrophic conflict between the United States and Russia's newly elected president by detonating a nuclear weapon at a football game in Baltimore.
Alex Cross, a Washington D.C. cop and forensic psychologist learns that his niece who is going to college in North Carolina is missing. So he goes there and learns that the police think she's among the victims of someone who kidnaps young girls and holds them captive and kills them who dubs himself Cassanova after the great lover. Later Kate, one of his victims, escapes and tries to help Cross find his niece. Written by
Campus officials at the University of North Carolina refused to agree to allow filming on campus in Chapel Hill because of the subject matter of the film. Hence the only UNC-Chapel Hill campus scenes are the flyover shots. There is one other scene shot on UNC's campus. After the flyover shot of Duke Chapel, the next scene is the detectives car turning onto Medical Drive in Chapel Hill.This can be seen by the sign behind the tree which is the old School of nursing sign on Columbia street. See more »
During the final showdown between Casanova and Det. Cross, Casanova tells Cross to "pick up the Glock". However, Cross' gun is a Sig Sauer, not a Glock. (In Patterson's novels, however, Cross does carry a Glock.) See more »
Detective Nick Ruskin:
How are you feeling, by the way? You feel like you're getting back on your feet?
Dr. Kate McTiernan:
I guess if I felt solid anywhere it should be in this house. I've been in it one way or another my whole life. It was my great aunt's. But I don't know. It's just different now. Something's off. I used to walk in the middle of the night down to the corner market for a quart of milk.
Detective Nick Ruskin:
That's true. I mean, people just get complacent. It happens.
Dr. Kate McTiernan:
Would you please hand me the big chopping knife.
Detective Nick Ruskin:
The department gives ...
[...] See more »
great acting from the lead, uninspired plot exposition
If you like serial killer films that like to tax your brain, you should probably give this movie a look (exactly the reasoning I was following when I picked this up at a video store). Chances are, you'll be entertained by what you see. Just don't expect this one to be a nailbiter like Silence of the Lambs or Se7en. This one comes across as more than a little forced, at times, something that can't be levelled against those two superior films.
The plot setup is as follows. A forensic psychologist (whom we get to see in action in an unrelated case, as an introduction), Dr. Alex Cross (played by Morgan Freeman), is placed in a personal position when his niece disappears, among 8 other women -- two of which are soon found dead in a forest, clearly brutally raped earlier. Cross, a clever guy, soon determines that the other six are probably alive out there somewhere, including his niece. Meanwhile, a young doctor named Kate (Ashley Judd) is herself captured by the rapist/murder/etc. (we see the events unfolding from her perspective). She, however, manages to escape. Dr. Cross and she then try to solve the case, so that Cross's niece may be rescued.
From here on, we get standard cop thriller fare -- and I'm not saying that as a bad thing, as such stories, when well crafted, are inherently interesting -- with a clear bond (not a romantic one) forming between Cross and Kate. Of course, plot twists abound (you get plenty of surprises about who the killer might be), until the inevitable (and a bit predictable) violent conclusion. Of course, the serial killer seems to be pretty kinky (an important element for a film like this); his depravity is, unfortunately (or fortunately?) never fully fleshed out.
Through it all, Morgan Freeman does an admirable job. You feel the weight of his intellect and emotion, as he goes about this personal case, even when the script doesn't project this weight itself. It's fascinating to see a professional transcend this material so easily. Freeman makes this film, 100% -- he's not only realistic but also heavily charismatic (without seeming forced, as Al Pacino on late-career-autopilot seems to be). Ashley Judd does a good job, as does the supporting cast (well... the serial killer isn't that great...), though a certain scene where she emotionally tells her story to Cross is way forced.
There are times, however, when great acting just can't make up for a mechanical script. It's not that the plot is bad itself, it's that it's exposed somewhat mundanely. It seems as though whenever a plot point is determined by the characters, they dwell on it for a bit, until it becomes uninteresting, and then the next plot point is delivered to us. The method of delivery never seems to flow out of the film's preceding movement, and often defies common sense (why would a psychologist be able to pick up a medical reference and easily pick out the drug used on a victim, when the actual medical doctors could not? it's possible but seems a bit too convenient).
The film's handling of the script is good. It looks good, and sounds good (in 5.1 surround). I still couldn't help but notice that all the tricks one normally sees that are supposed to increase tension and drama are used in this film, too, even when the script just doesn't provide the same tension and drama. (For instance, when Freeman makes a solemn pronouncement about some trait of the killer he randomly decided on, because he's so good.) When this happens, it feels like the movie is going through the motions (no matter how hard it tries, it's just not as hard-hitting or dark as, say, Se7en). Often enough, though, the cinematographer's and director's work fits the screenplay perfectly, especially during the action at the end. The experienced movie goer, however, will probably detect a moment of randomness (watch the camera work during the bar scene with the three detectives, after Jeremy Piven asks Ashley Judd to stay still) -- I'm probably nitpicking here.
Well, there you go. It's a good movie, but quite cliched, and too often it just doesn't feel right. But if you use it to admire Morgan Freeman's work, you will be entertained. 6/10
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