Crossed Over

Leaving aside the tired and seedy clichés of the death row genre, which this film wallows in, and the unpleasant evocation of the crucifixion, this film is just plain inaccurate, a bit-part player's parasitic exploitation of her tiny role in a bigger story. What is missing is more important than what is here. Where is the female victim's brother who was a regular visitor and friend to the murderer? Where is Newt Gingritch, where is Pat Robertson? Both actively campaigned for commutation of the death sentence. Where is any mention of the key Larry King interview given two weeks before her death? The overwhelming impression is that this woman had one source of support and friendship, when the reality was very different. It can't even get right the nature of the barrier in the visitor's room, or the marriage-by-proxy, opting instead for the romantic death row ceremony.

This is a movie which enjoys its misery, a pornography of redemption and death. If the book has the same tendency to self-promote at the expense of the truth, then the movie is true to the book. And then neither are true to the facts.

It's a TV movie and has to be rated as such. I don't go along with the negative comments - it had to be underplayed. It would have been boring and clichéd if the actors had started chewing the carpet (not that Texas jails have any carpets). It was good to see George W. and his hair making a cameo appearance, in a familiar role. My only reason for writing to you is to question the unbelievable 'special' billing credit given to Jennifer Jason Leigh. How was this arrived at? I understand that sometimes the name needs to be under the title to give the actor a chance of a 'best supporting' award. But 'and'? This was as much a two - hander as Thelma and Louise or Butch Cassidy and the Sundance Kid. The excellent and reliable Maury Chaykin was, well, excellent and reliable as the husband, but his role was never one that could push a central character into third - or not even third - place. So, I don't know. I really don't. Maybe Ms Leigh got all the money, in which case I have no complaint. John Carty.

Diane Keaton stars in "Crossed Over," an overly-sentimental film that does not even make an attempt to become anything more than a giant, television "soap" film.

Diane Keaton gives no great performance compared to some of her past work, and the rest of the cast members are boring. The direction is confusing and drags out endlessly. I was enthralled when the credits finally started to roll. So many scenes that should and could have been left on the cutting room floor weren't, so instead we are stuck with a two hour soap-fest. I find it hard to believe that the film stays completely true to the book it is based upon, which in turn is based upon real events.

I don't really have to go into how preachy and politically correct this film is. It's kind of a no-brainer. Though, I must say, I didn't expect something like "Crossed Over" to be as preachy as it was.

"Crossed Over" is another forgettable television film with good potential but an all-too-familar and boring script.

1.5/5 stars --

True-life account of a Texas novelist who, having acquired an obsession with death after the hit-and-run killing of her teenage son, begins an unlikely friendship with a convicted murderess on Death Row awaiting execution. While I agree with the general criticisms that this TV-movie is underpopulated and one-sided, and perhaps not completely true to the facts of the case regarding uneducated prostitute/drug addict/killer Karla Faye Tucker, its sole objective is uncover the bond between the two women involved--not to be an investigative journal of the crimes. In fact, the black-and-white flashbacks involving both the past histories of Diane Keaton's Beverly Lowry and Jennifer Jason Leigh's Tucker are the film's weakest link. The present-day relationship is the real story; there's another version to be told, yes, but Lowy's connection with the doomed Karla Faye is the focus this time, and it's quite moving. Comparisons to other Death Row films ("Dead Man Walking" in particular) aren't really useful here because the scope of the drama is much smaller (perhaps due to the constraints of a television budget). However, the emotions and tensions are just as raw and vivid, and Keaton, who had been giving mediocre performances for years before this, turns in a solid job. Director Bobby Roth tries hard to be graceful and balanced, occasionally slipping into second-class melodrama yet really involving the viewer in these lives. Karla Faye Tucker was not a good-girl-gone-bad, she lived a savage life, but the attempt is to bring out the humanistic characteristics in the woman who, on the eve of her demise by lethal injection, touched a few lives by chance. Worth-seeing.

. . . which detracted--and distracted--from the start. Nor was much of an attempt rendered to capture her personality, much less her spiritual passion. JJL played her as a caricature drudged up, I suppose from her own limited imagination of the typical(?) ax-murderer-who-later-turned-to- religion character. Actually hard to tell the difference here between JJL as Karla Faye Tucker and JJL as "Single White Female".