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Alex Cross ***

Alex Cross, entertaining reboot and prequel to the adventures of Detective Alex Cross by James Patterson.

The reboot of the adventures of psychopathic murderers expert Alex Cross FBI adapting the novel by James Patterson Cross, I found it as entertaining and compelling as some of the previous adaptations of the stories of the movies Patterson starring Morgan Freeman. Rejuvenate the central character and bring into the past, telling how he started his career in psychopathic murderers hunting is a strategy that has already been implemented as standard in Hollywood franchises and here offers the same opportunities for landscape renovation without sacrificing the claim commercial previous adaptations. It's a perfectly legitimate way to work in an industrial environment and considering the film as entertainment product of evasion and served the public with some art but basically the same soul that qualifies a fast food restaurant or a production industry chain anything.

More and more commercial movies drowning in formulas such exploitation. But Alex Cross actually works very well, and even has several interesting issues to consider.

The first is the construction of his history working with the idea of ​​opposition and opponents. The first twenty minutes of projection remarkably complacent strike us with the characters and situations, but they are only a preparation for what comes next. And what comes next is usual in the series of detective stories with intriguing clues that usually qualify terrifying novels featuring Alex Cross: absolute extinction of all that complacency to sift the characters' lives brutally about the hour of footage and put the story in a different key, more action than intrigue. The theme of the contradiction is the starter of all time: the chase continues with a slow (and quite topical) chess scene in jail, the protagonist happiness alternates with the presentation of the villain, and within this , the abandoned church houses an extreme manifestation of violence in street fighting combat, whose squalor had the luxury decorated with blue and white colors of the next scene. That game with the sets back at the end of the film to the confrontation sequence protagonist / antagonist in a theatre about to fall apart.

Along with these features, the director of this reboot prequel to approach, Rob Cohen, has scrupulously respected both the pace and approach essential keys of intrigue in the previous films in the franchise, namely: Kiss the Girls (Gary Fleder, 1997) and Along Came a Spider (Lee Tamahori, 2001). So all the syrup poured over plot and characters in the first minute film reveals itself as a flypaper trap in their idyllic perfection that lies ahead a last section of the most active and interesting history, which comes to hunting and confrontation with the murderer, until a final vocation has clearly opened the door to a possible franchise.

So this story set in Detroit, before Cross joins the FBI, is a successful entertainment under the action film, played with that tone of tragedy that characterizes type bestseller novels characters and retells most interesting as his murderer, the executioner, the monster of the story, the Butcher of Sligo, played in a remarkable record by Matthew Fox, who in my opinion is the best of the film.

Along with all that and completing the puzzle, a partnership role or fellow sufferer but effortlessly filling his usual solvency Edward Burns, a few scenes topical as several of marital bliss, comfort the weeping girl, and devoted mother Confessor of the sins of the son ... And generally a topical puzzle "made in USA" to tame the saga of Alex Cross away from the edges more bitches of films like The Silence of the Lambs or Seven. It always has and it is repeated on this occasion.

So to finish watching this film it's clear that both of James Patterson novels like the movies that suit remains pitch that species domesticated disguised conservative mood false liberalism whereby the protagonist dialogue can become an avenger long as you are clear that this is allowed only in extreme circumstances and following a common good. Frankly, I prefer to style the typical argument Dirty Harry, John Wayne or Punisher, according to which makes it pay. And the pay bloodily. Eye for eye and tooth for tooth. Without smokescreens Pharisaic or right-thinking liberals. It is something that has always bothered me the character of Alex Cross: the guy just exercising avenger, but goes beyond progressive for life. Liam Neeson prefer distributing firewood without explanation in any of the two parts of Vengeance.

Why I insist that the most interesting is the villain, since his first appearance, that fighting all topics ballast accompanying the rest of the film, gets to float the argument and make it a spectacle worthy of escape and entertainment.

Miguel Juan Payán

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