Review: ‘Cross’ and ‘Day of the Jackal’ center on complicated characters with muddy goals

As a seasoned TV critic with over two decades of experience under my belt, I must say that these two series, while visually stunning and boasting impressive cast performances, leave me feeling somewhat underwhelmed. The focus on the killer’s perspective is a well-trodden path in modern television, and it’s becoming increasingly difficult to find new angles or depth within this familiar narrative.

Two gripping thrillers, “Cross” on Prime Video and “The Day of the Jackal” on Peacock, make their debut this Thursday. Both series follow a game of chase where the protagonist and antagonist are known from the start, but the roles of hunter and hunted continually shift, adding an element of intrigue.

Based on a character created by James Patterson (and featured in 32 volumes so far, three of which have been made into movies), “Cross” is a serial-killer tale set in Washington, D.C., with detective (also Dr.) Alex Cross, the dedicated lawman. “Jackal,” from the 1971 Frederick Forsyth novel (his first), twice adapted for the big screen, is set all across Europe and into western Asia and has little to do with the source material other than featuring a master assassin as its code-named eponymous villain.

In my opinion, while their stories follow a basic premise of one character aiming to harm another and another trying to prevent it, they are intricately layered with complexities and an array of characters whose objectives and intentions sometimes become convoluted. Therefore, it might be beneficial for you to jot down the details as you go along.

It’s consistent with Patterson’s work to have “Cross” be a series about a serial killer, specifically Ed Ramsay, played by Ryan Eggold. We will follow him closely as he carries out his gruesome deeds. He is well-built and meticulously groomed, not bulky but more like finely sculpted. He views himself as an artist, has substantial wealth, moves in influential circles, and overall fits the profile of a contemporary fictional psychopath.

When a former gang member turned activist is found dead, Cross (Aldis Hodge) is trotted out with partner John Sampson (Isiah Mustafa) as “dark skin cover” for the police department but also for their contacts within the Black community, though, as police, many in the community regard them with suspicion. (“Chief,” Cross asks, “are you trying to solve a crime or a PR problem?”) The authorities are lazily blaming the death on suicide or an accidental overdose, but Cross, who knew the victim, smells murder. And when a second killing occurs, he’s convinced there’s a link.

Similar to numerous screen detectives before and after him, Cross shares a common trait – the unsolved mystery of his wife’s death which still haunts him. Despite his constant assertion that he doesn’t require assistance and despite others urging him otherwise, this tragic event continues to cast a shadow over him. Could her murder be connected to these other killings? That would be revealing information. However, one might speculate about the possibility.

The series, developed by Ben Watkins, is well-crafted and features a straightforward style, but it struggles slightly due to its dual nature. Excluding the elaborate murder scenes and some conventional genre tropes like the pesky reporter obstructing our protagonists – it primarily revolves around human nature, portraying characters living in a believable community within a convincingly drawn, almost realistic world (despite being set in Canada as a stand-in for D.C.). This show features Cross, played by two young children and romantic interest Elle Monteiro, portrayed by Samantha Walkes. However, the main appeal lies in the captivating performances of Hodge and Mustafa, who share an effortless chemistry that leaves one hoping for a future collaboration.

Instead of having a matte finish, the novel “The Day of the Jackal,” written by Northern Irish author and screenwriter Ronan Bennett, shines brightly, much like a high-gloss surface. It’s set in alluring locations, some authentically claimed – England, Turkey, Croatia, Estonia, Spain, and Germany. Likewise, it follows the story of a serial killer, albeit one who murders for financial gain rather than personal gratification or psychological disturbance. Although the novel does delve into his past traumas in an attempt to evoke empathy, this aspect may not resonate strongly with readers. The protagonist, once again cloaked in multiple aliases (portrayed by Eddie Redmayne), demonstrates a high level of intelligence and intricate plotting, even if he doesn’t have many leisure moments.

Initially, the cunning Jackal adorns himself with intricate disguises, resembling a particular janitor in a targeted building, to blend in before executing his heist. Regrettably, this operation leads to extensive damage and harm to many innocent bystanders, which undeniably paints him in an unfavorable light. However, it seems the storytellers intended to portray him as complex, even sympathetic, rather than just a ruthless villain; perhaps they aimed to present a character who underestimates his own cruelty, as Redmayne effectively conveys through his performance.

Despite being portrayed as exceptionally skilled, his frequent solution to tough predicaments seems to involve firing a gun, or even multiple guns. This habitual behavior is seldom surprising, making it less about suspense and more about anticipating if the writers might change his approach in future situations.

The storyline in Forsyth’s novel, which was mirrored in Fred Zinnemann’s 1973 film, is centered around contemporary events, specifically an assassination attempt on French President Charles de Gaulle by a disgruntled veterans group over Algerian independence. In this modern narrative, the focus shifts to a forward-thinking tech visionary (Khalid Abdalla), who is on the verge of launching an app called River (“River symbolizes transparency, River signifies global change”). Predictably, his actions have made him an enemy among the world’s wealthiest individuals due to the potential exposure of their secret financial transactions.

Bianca’s relentless determination reminds one of the Jackal’s, yet they both encounter similar work-life difficulties. However, Lynch’s natural empathy makes her character endearing. While you might doubt Bianca’s decisions, it’s always captivating to see her onscreen. Moreover, Úrsula Corberó as Nuria adds depth to the series, portraying a kind, rational, and uncompromising character who is vital in understanding the true nature of the Jackal, despite being labeled a spoiler.

This production is clearly high-budget due to several factors: It’s a sequel to a well-regarded movie from decades ago, so cost-cutting isn’t an option. Additionally, it showcases exotic locales as seen in every Bond film since “Dr. No,” and money has been spent on obtaining tracks by the band Radiohead. The action is quite intense, not all of which involves firearms. (Interestingly, another adaptation based on the same source material, “The Jackal” from 1997, received negative reviews but still managed to earn more than double its production cost.) There are car chases and even a car and horse chase in this film.

It’s clear that in both series, spending time with the villain, who happens to be a killer, is a creative decision. Many viewers seem to enjoy these characters and their dark deeds as much as they do candy corn. The ‘catch-them-before-they-kill-again’ plotline ensures the story is always moving forward. However, there’s nothing more monotonous than a psychopathic killer, unless we’re talking about a Talking Heads song. Regardless of how you present them or what complex reasons and strategies are developed for them, they all follow the same blueprint. I’m aware that my opinion might be unpopular, but it’s still a free country.

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2024-11-13 20:31