Madea's Big Happy Family: Tyler Perry Gives Up On Coherency Altogether
Five months after showing how bad he could do all by himself in adapting Ntozake Shange, Tyler Perry returns to transferring his own stage work to the screen, donning once again the Lane Bryant floral prints that have made his millions. Like its predecessors, this Madea film features a saintly matriarch (Loretta Devine), a vilified bourgie princess, emasculated husbands, trifling heifers, a lengthy church scene, last-minute revelations about childhood-sexual abuse, a maternity truth-bomb, and the title character's slaps and sass. The melodramatic messages also remain the same: Get right with the Lord; open up about those shameful family secrets so the healing can begin; and teach those kids to stop being so damn disrespectful. But the amount of clowning and nonsense in Madea's Big Happy Familyexcessive even by Perry's standardsall but muffles the community-outreach function (which also includes a brief mention of the dangers of diabetes) his films have always served. Too lazy (and, it seems, cynical) to give his audiences any more than he thinks they want, Perry appears to have given up on making a coherent movie altogether. No thank yer.
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