The 89th Academy Awards telecast airs at 8:30 p.m. ET/5:30 p.m. PST, Sunday, Feb. 26, on ABC, hosted by Jimmy Kimmel. Join us for the first IMDb LIVE Viewing Party, a companion show that includes celebrity insight, real-time IMDb data, and more.
Dr. Alex Cross is on his last police duty to track down an assassin called Picasso, who's been torturing and killing rich businessmen in Detroit. Soon when the mission gets personal, Cross is pushed to the edge of his moral and psychological limits to end this once and for all. Written by
In the Alex Cross novels, Alex's best friend and partner is John Sampson. However, in the movie, Alex's best friend and partner is Tommy Kane. See more »
Det. Cross may be highly intelligent, however, his actions as a police officer are lacking. When he encountered an armed highly skilled assassin that had killed multiple armed opponents, he did not shoot him. This of course would have negated the rest of the film. See more »
[Toward two long-haired and bearded computer techs examining an external hard drive]
What do you guys got back there?
Computer Tech #1:
The IDE was routed to the BIOS in a weird way, and the cylinder/sector was stored in the CMOS.
Yo, yo, yo. Geico Cavemen, what do you say we break that down in English.
Computer Tech #2:
We spelunked her email account.
See more »
This is hands down one of the worst movies I have ever seen in my life, and I've seen a boatload of lousy movies. Both the dialog and plotting are hackneyed beyond description--not one original idea or twist, and not a single exchange that feels genuine. It's the kind of childishly obvious genre rehash in which you can tell who's going to be killed just by the relative one-dimensionality of their characters. Matthew Fox, who clearly dropped his body fat to zero for this film, will one day look back and regret all those months he went without a decent meal, because a) the movie is terrible, and b) his portrayal of a psychotic killer is ultimately a study in cliché. Ed Burns furrows his brow convincingly enough, but his easygoing charm has nowhere to go here. Likewise John McGinley, whose neurotic fatalism seems plucked from an entirely different and more lighthearted police procedural being filmed down the street. And then there's Tyler Perry, who expends so much energy in a futile attempt to project faux masculinity and criminological gravitas that he apparently has nothing left for tangential stuff like changing his facial expression once in a while. Perry can thank his lucky stars he's already a Hollywood fixture, because If this were his first movie, he'd never get another offer--truly, he's that bad.
138 of 227 people found this review helpful.
Was this review helpful to you?