Crossover stars Anthony Mackie, Wesley Jonathan, Wayne Brady, Alecia Fears, Eva Pigford, Lil' JJ, Kristen Wilson, & AND1 streetball player Philip Champion in his film debut.
It was written and directed by Preston A. Whitmore II and produced by Frank Mancuso Jr. Crossover was shot primarily in two cities in the United States, Detroit and Los Angeles.
Enemy of the State loses the game and afterwards we see that although they are best friends, Tech and Cruise live in completely different environments.
Vaughn arrives and unsuccessfully tries to convince Cruise to join the NBA, while Vanessa secretly agrees.
Back in Detroit, Tech goes to a basketball court to clear his mind, and Cruise arrives to apologize.
Tech asks him if he's going to accept Vaughn's offer and go to the NBA, but Cruise denies and says that he is going to community college and transfer to university to be a doctor.
Cruise agrees to play on Tech's team in the next basketball game, then leaves and goes to Vanessa's house.
She reveals that she was actually pregnant by Jewelz and that the only reason she dated Cruise was because she thought he was about to move to California and become a big basketball star.
The next day, Tech deduces that it was Vanessa who told the media about Cruise playing in one of Vaughn's illegal basketball games and goes to confront her at the nail salon where she and Eboni work.
Tech realizes that even though Vaughn didn't directly say anything to the media, he was aware of Vanessa's gold-digging lifestyle and that's why he talked to Cruise about the NBA in front of her.
After the game, Vaughn offers Tech a spot as one of his players under his management and how they can make so much money together because "great minds think alike".
Vaughn sells his nightclub, shuts down the basketball arena, and moves to Los Angeles to be with his girlfriend.
The website's consensus reads: "This heartfelt but incompetent, cliche-ridden sports picture is the cinematic equivalent of an airball.
[3] The Seattle Times' Jeff Shannon saw the film's "blatantly formulaic" parts throughout the runtime with its "rudimentary filmmaking, predictable plot elements, amateur acting" and broad conclusion, but commended Whitmore for utilizing his limited resources to create a project that grows on you past the first five minutes, saying that "Crossover has a built-in audience that won't be disappointed, especially if you go in with low expectations.
"[5] Despite giving credit to the rapport between Mackie and Jonathan's characters and Brady's role as the antagonistic sports agent, Tom Meek of The Phoenix was critical of the movie being a "flimsy cut-out of Ron Shelton's White Men Can't Jump by way of Hoop Dreams" due in part to hackneyed plot devices, "low production values" and Whitmore's "stilted direction", resulting in a streetball tale being filled with "hip-hop flash and contrivance.
Club criticized Whitmore's "amateurish" production for constructing a faux Detroit locale that strands the cast with delivering awkward scenes and failing to say anything new about street basketball that White Men Can't Jump already told before, saying that "Crossover doesn't have the competence to make it exciting or the desire to explore what's really at stake for these players.
"[7] USA Today's Claudia Puig felt the lack of "gripping, adrenaline-fueled" streetball scenes was the movie's downfall, saying "Nothing feels very underground or edgy about this urban melodrama, which bogs down in a clichéd story and leaden dialogue.
"[8] The Austin Chronicle's Marjorie Baumgarten found the film's characters and story elements "predictable and heavy-handed", and the basketball action lackluster to engage viewers, concluding that "Whitmore tries out all sorts of zappy camera edits, yet when it comes to filming a basketball game, he shoots mainly air balls.
"[9] Nick Schager of Slant Magazine heavily lambasted Whitmore for taking the style over substance approach when ineptly directing both his basketball and dramatic scenes, and his script for telling a hypocritical moral lesson about "pro-education and anti-athletic glory", calling it "a pathetic imitation of an emotionally engaging, professionally made movie.
"[10] Desson Thomson of The Washington Post said the film could've been "a truly terrible movie to savor for the ages", highlighting Whitmore's filmmaking style of "frenetically edited montages with de rigueur hip-hop" in the bookend court scenes, overly saccharine moments being accompanied by "lachrymose saxophone riffs", and the one-note cast delivering laughable dialogue but felt it maintained its position of "middle-of-the-road badness", concluding that "[I]t's simply too dull and meandering to merit impassioned disdain.