100,000% Better Than Madea's Trailer...

While probably sighing the deepest sigh anyone ever sighed after the watching the "Madea's Happy Family" trailer (at least I think that was the name of it), I decided to clear my mind with fellow film blogger Issa Rae's new webseries "The Misadventures Of An Awkward Black Girl". It's getting a big buzz (cause it's hilarious) and will definitely mean we'll never pick up "Soul Sis-Star Reviews" ever again; I see a deal in her future... *another sigh*

To Like Or Not To Like? That Is The Question....

OK. So saw Tyler Perry's "For Colored Girls" over the week-end. I purposely didn't read any reviews before seeing it (though I really wanted to) as I wanted to view it from my own perspective. I thought about writing this review the same day as seeing it, but I was unsure how I felt about it.

The fact is, I'm still pretty unsure. I know for a fact that it is the only Tyler Perry movie that I have ever even remotely liked, but I'm not sure how much. I saw the play when I was a little girl with my parents. It was long ago, but I do remember certain things about it. I remember thinking while watching the film "I don't remember any men being in that play". Sure there was talk about them, but I didn't remember seeing any.

The other thing, which I think may be my biggest problem with the film (besides the bad wigs and make-up) was that I didn't remember it being such a joyless experience to watch. At the play I remember feeling uplifted, with a great deal of admiration for the women involved. I remember that being colored and a girl seemed like a very great thing to be.



It is obvious Perry did try very hard to rise above his limitations, but we eventually get back to the branded theme of "bad Black men are the root of all Black women's ills." I'm ready to admit that bad relationships are afflicting our community in a huge and negative way, but that, monolithically, is certainly not the root of a great many of our problems. I would place racism high amongst that list (which I don't remember being talked about on any level in the film), as well as poverty, fifth rate education in public schools, lack of concern for nutrition, no genuine leadership in the community, and a host of other reasons as things we are to examine to make ourselves whole in the world.

Another limitation that has kept me from really getting into Perry's films is a complete lack of subtlety. I remember that the play was beautiful, and though not all beautiful things are subtle (certainly not), that was the beauty of this particular play. It made you think, to solve the riddles of Ntozake Shange's verse and prose. In the film, the transitions from regular speaking to the lines in the play were jarring, and mostly clumsily handled. A couple of times I found myself thinking "what the f*ck is she talking about?" only to realize a few moments later that a character was speaking lines from the play.

I did not think it lessened the experiences that were to be learned by adding men into the mix. And of course, the prose had to be expanded upon to make the film less "play-like", because as a lot of my readers have let me know, they are not huge fans of straight-on plays on film...I didn't think that detracted from the original messages of Shange. It was beautifully shot, and the set design seemed to be thoughtful. Everyone gave close to amazing performances, with special kudos to Whoopi Goldberg (surprising), Phylicia Rashad, Thandie Newton (underrated), and Macy Gray (whom I always love as an actress).


But I could not escape the feeling of claustrophobia that set in for me midway into the film. The close, tight face shots; the small, cramped apartments--began to close in on me. In the beginning of the film it was expansive and full of possibilities; as the film progressed and the plotlines and characters started to begin to be involved with one another, I felt myself shrinking. As everything became smaller and more universal, instead of feeling identity in the close relationships and growth of these women, I felt suffocated, and thoughts of wanting to escape the film began to arise.

"How long is this movie?" "Why is it so relentless in it's sadness and anger and hopelessness?" "Why doesn't anyone move from this horrible apartment building?" "Why does Janet Jackson's face look like a Kabuki mask?" And so on. Rape, abuse, mental illness, murder, undercover homosexuality....why did I not remember all of that from the play?

When the film ended, I was relieved. I don't think I've ever felt that way before about a movie. But I have to say I was relieved to see the misery about the pain men cause be over, to not have to look at the dreary apartments anymore, and to not see Lorretta Devine's craptastic wig any longer.

And that is DEFINITELY not what I should have been left with. The meaning of "Colored Girls" is to give hope and good cheer, to let Black women know that everything we need in this life, and any other life, is already inside of us. To let us know that as long as we support one another is sisterhood, in creativity, in our awesome womaness, it doesn't matter what a man does, or a whole race, or the whole world. We have to, and can, support and hold each other up.

That was the feeling I was left with in the play. The film seems to be a lot less emphatic about those things. And those messages--in and of themselves, are what kept this from being a great film, and instead simply a great try.

This N' That....

So many thoughts....so much slacking...

Sorry for not posting. I have a sublet in L.A. while I'm looking for a permanent place...with no freakin' air conditioning! Who lives like that here? Needless to say, with 90 and a hundred degree heat, I haven't really felt like blogging.

But the heat has broken, so here I is. I have so much to say, but I know most folks don't like to read long, involved posts (at least here they don't) and frankly, I'm not in the mood to write one. So I'll do some drive-by observations:

Big Mamma's House 3: Why?


Why all the hulabaloo over "District Nine" in regards to racism? I thoroughly enjoyed it...people are never satisfied...jeesh. If you wanna talk about some real BS, see above.


Why are serial mash-on-anything-that-moves Hill Harper and 3 times married Steve Harvey suddenly considered "relationship experts" after writing suspect books? I am seriously scratching my head over that one.


If you are complaining that there is no interesting film out there, and you still haven't seen "Life Is Hot In Cracktown", you have no valid argument right now.




What happened to Andre 3000, Elijah Kelley, and Don Cheadle all doing separate Sammy Davis, Jr. projects?


Speaking of Sammy Davis, why does Nick Cannon dress and act just like him on "America's Got Talent"...velvet jackets and boutineers? Really?


Why did I see a billboard for LL Cool J's TV show, and think "I wonder who that Black guy is?" before slowly realizing that was him? Ummm...Ell--whatever you are doing to that face of yours, now would be a very, very, very good time to stop. And oh--the lip licking thing? Bury that too.


Speaking of burying, what crypt did they finally find his co-star Chris O'Donnell in?


I can't wait to see Lee Daniel's "Precious" even though everybody is referring to it as Tyler Perry and Oprah's film...I'm not surprised, and not amused. I find it interesting, however, that Mo'Nique and Mariah Carey are getting serious Oscar buzz.


And a very special thanks to Ebony Jet for selecting me as one of their favorite blogs, AOL Black Voices for linking me on their main page, and fine, wonderful readers like yourself placing me in the top 50 film blogs in the whole, wide world on Wikio....not bad for a super-slacker, eh? :-) But I know I need to step up my game...working on it (really!)

When Tyler Perry Is Considered....

Okay, naturally like everybody else I was totally and completely horrified when I first heard the news that Tyler Perry was chosen by Lionsgate to write, produce, and direct the classic play, "Colored Girls Who Have Considered Suicide When The Rainbow Is Enuf" (I'm sure they'll shorten that title). I mean, WTF?

But then, after further reflection, I decided to keep a Zen attitude about it until the finished product....I mean, we've been bitchin' and moanin' (some of us, anyway) since I first started blogging about how mediocre Perry's scope of limited filmmaking is....he had a formula, followed it, then moved on to the next one in his factory line.

But maybe this is his chance to show there really is something else there, without him having the pressure of having to actually create the material himself. In my opinion, the Spike Lee films that I usually enjoy the most he did not write, and he definitely owns the film when all is said and done---maybe Tyler can do that as well. We should at least give him a chance and try to stay positive about it, no matter how great the initial disappointment.

On another note, speaking of Tyler and Spike, this project and Lee's "Passing Strange" lends a little gravity to the thoughts I've had for using on-stage media for film source, yes?

UPDATE: Hmmmm, maybe I spoke too soon...this from a commentor on Shadow And Act in response to a reader who wanted to start an online petition:

[NothingButAMan] – I TOTALLY support your idea of an on-line petition!! Being a former “Hollywood” girl I have great insight to this tragic situation. Stewart, who is an AMAZING talent, had been working solo on the project for the past 4 years (wrote script, secured rights, gained A-list talent, etc) only to have it stolen in a moments notice when she introduced the project to Perry who was only to exec produce. Sooooo- do you want me to start the petition or you? Another example of BLACK ON BLACK crime – this has to stop!!!!

From IW: Wow. Tyler is surely stepping in it....he might have bitten off more than he can chew. This from one of my loyal readers Ms. Lady Deborah:

IW,

I am going to try and keep an open mind until after I see the film.

For Colored Girls was one of the most important pieces of art for women of my generation. That was us up on that stage, talking like we did when we were hanging out with each other. Saying things that often we not spoken out loud during our young days of womanhood.

Those brothers coming from Nam, they were the men we were building relationships with and often paying devastating costs for doing so. Our anger, our joy and our love was/is right there.

It caused quite a bit of friction within the Black community. I remember when it played in my hometown, the brothers were all laughing and feeling the first part of the choreopoem-until the rough subjects like rape, violence and negative views starting being presented. Those moments caused many men to become outraged and declare that it was male bashing. But, we fought back in defense of what was said, because so many of us had lived those moments in our personal stories. Even though many of our men and families did not want to acknowledge that as a matter of fact.

I hope that Tyler realizes if he does not handle this material in a proper manner-he is going to catch the blues from multiple generations of sistas.

For Colored Girls is now a classical work of theatre. He'd better step real correct! I want to hear our voice and the voices of our younger sistas in a manner that I understand.


IW: Like Bernie Mac said in "The Player's Club": "they's gonna be trooouubbbllllee...."

Things That Make Me Laugh....

--Willona Woods aka Mary J. Blige in Tyler Perry's "I Can Do Bad By Myself"

--Aunt Jemima's Revenge

--This blog based wholly on loony-tune blogger Sandra Rose (thanks sergio) lovingly referred to as "Crusty": http://sandraroseisahater.blogspot.com/

--This unfortunate trailer for the low budget, not even DVD worthy movie "Peaches" (thanks sergio):




--"Others" who wander onto this blog by some happenstance and say: "You and everyone on this blog are a bunch of racists!" And then proceed to break down how "inferior" we are in so many ways, and how we are just a bunch of ignorant apes, monkeys, or some other variance of primate. Folks that are also obviously completely and blissfully unaware of the term and meaning of "irony".

Obama Fingers. With curry dip. In front of the Golden Gate Bridge. Just why?

F*ckery All Around Me...

I know my posting has been spotty. The truth is, I've finished a transition back to the Bay Area to be closer to my parents, and I miss L.A. terribly...I will probably have to have residences in both places to keep everyone happy, the main person being me.

The weather has been atrocious in the Bay; cold, rainy, windy--the kind of weather that puts me in a deep, grouchy funk, as I am very, very much a sunshine person. I think my blogging has been affected as well...but fear not--I have come out of my cave for a moment to comment on some of the f*ckery that keeps slapping me in the face, haha.


How can I not say anything about the severe and unmitigated f*ckery that is Samuel Jackson? After being the super-overexposed version of Beyonce in the movie biz, he seems to want to dare us to hate him. He has signed on to do 9, yes nine, yes IX more pictures as the character Nick Fury. Is there anyone in life we want to see that much? I would saw off someone's foot to get close to Dwayne The Rock Johnson, but even I wouldn't want to see him in nine freaking pictures playing the same character. Just boo!


Also on my grouch radar is Tyler Perry. I said to myself that I wasn't going to dedicate anymore space to his projects except for straight reportage, but gawtdayum, a movie version of "I Can Do Bad All By Myself"? What next--Stepin Fetchit on Parade? I mean, that play was all sorts of funny, but it puts the chitlin', fatback, and hog maws in chitlin' circuit.


Speaking of chitlins, for some crazy Black History f*ckery, check out Thembi's post on white (and Black) America's tributes to our so-called history and tastes. True WTF?!? shenanigans if you ever saw it!


I kept silent about Slickback's stupid statement about the Chris Brown/Rihanna debacle (my advice still stands to only speak through a publicist, Terrence), and it is even more stupid as he was arrested for the exact same thing a few years back.

But what is this that Chris Brown was to star with Fantasia as Harpo in the Washington D.C. stage play version of "The Color Purple" (which he has been dropped from)? Remember this line? "You told Harpo to beat me!" Ummmm...ironeeeee....


Just setting my grouch/disgust factor off the charts is Marlon Jackson's complete lunacy about building a slavery theme park, complete with golf courses, spas, etc., coupled with a Jackson family museum. How much do we really know about Marlon? I mean he has never really said much before....how do we know he might not have some mild form of autism or something like that? All signs point to it with an idea so stupid I can dedicate 3 posts to it.


And finally, just the type of f*ckery that wears one to the bone--why, Whoopi, why?


Not that her wardrobe of choice should be any surprise. Let's take a look at some of her other Oscars dress choices, yes?





Clearly this woman has never been introduced to, or been within a 50 mile radius of a stylist, ever.


Okay, rants over. Just to balance out my mid-winter crotchetiness is some good news. I will be starting a sort of West Coast version of Reelblack, showing screenings of yet to be released independant and rarely seen throwback films, along with talks with actors, directors, etc. this summer called "Black Cinema At Large". Those of you in the Bay are very welcome to hang with yours truly. Each event will be posted on this blog so stay tuned, and stay blessed :-)

T. Jakes Vs. T. Perry; 6 Of One, Half A Dozen Of The Other

Which means to say, what's the difference?

There are way more similarities then differences, for sure, but there are some distinct separations that make me prefer one (albeit only very slightly!) over the other...more on that in a bit...

Received this from Kim over at the Punkin Patch in my email:

Hey IW:

A friend of mine just sent me a link to the trailer of Tyler Perry's next movie "Madea Goes to Jail" (http://www.madeagoestojailmovie.com/). I don't know if you've seen or not but it looks like standard TP fare. I am beginning to wonder if Tyler Perry likes women. In all his movies some distressed, abused, down on her luck woman always has to be saved by a "good man". Usually the good man is 'light-skinded'. But this time he chose a chocolate brother Derek Luke to be the savior. And why do all these women have to either be a drug-addict, single momma with babies by different men, and now a prostitute??? Between him and the good Bishop TD Jakes (his new movie looks like its putting down professional black women who choose career over poppin out babies for their poor, long-suffering good man), I don't think these men have much love for the sistas. I'd love to hear your opinion. Thanks!

Kim

From IW: Hmmm. Let me begin by saying this...I have to admit, Perry playing Madea usually doesn't bother me (tho it seems to infuriate a lot of men), but for some reason these pix were positively creepy to me. For the first time I got a flash of repulsion that the most vocal men on the subject must be feeling...it seemed...downgrading in some way.

I know, I know--we have discussed Perry many times on this blog, and for the new readers, I have made it clear that his films do not move me. I don't know if it's because I was raised Catholic that I can't relate, as I find his stories simplistic, trite, formulaic, repetitive, unrealistic, and ultimately just plain boring. I have no problem with others enjoying them, tho, and I let it lie there....but if he never made another project ever again, I would not be one to miss him for a second.


I have never really discussed T.D. Jakes and his films (well, I've only seen one until this new one). I thought "Woman, Thou Art Loosed" was absolutely awe-inspiring in it's awfulness; besides the cinematography and editing equating to the works of an 8 year old. But the storyline, a woman who is the victim of incest by her stepfather who is made out to be the villain instead of him, until everyone, (including said sick raping pedophile) comes to forgiveness and redemption, without anyone--except for the real victim-- suffering or being punished at any point. I found it disgusting and irresponsible, further perpetuating the "act like it never happened" protocol in the black community.

But at least T.D. Jakes' situations are based in realism, which is a lot more than I can say for Perry, and his films give pause for thought here and there. Yes, Tyler and Jakes' movies have a very faith based gospel flavoring, and the "good man can cure all" morals are getting very tired, cause we all know very well that it usually isn't that black and white. It is also possible for a single Black woman not to have multiple social and personality issues, which are central themes in both of their projects. And I don't know about y'all, but sometimes I just don't feel like forgiving some folks, and I don't want it hammered in my head over and over again that I must do it at all costs.

But I almost (and almost is a big deal for me) enjoyed "Not Easily Broken". I went in with low expectations for my typical superficial reasons--I knew Taraji P. Henson's weave was going to be way off the wack-o-meter, and I cannot emphasize enough in this lifetime how much I can. not. stand. Kevin Hart. Who the f*ck told this dude that he was funny? If anyone out there thinks he is, please drop a comment about why you do--I'd be very, very interested to know.


But I digress....the other thing that made me skeptical is that Taraji's acting most of the time rubs me the wrong way...it is sometimes just...too much. Her black chick yelling makes me want to leave the theatre at some point. She is in all of her glory with that here, and it is starkly noticeable against Morris Chestnut's (looking foin as hayell!) very low-key steelo, but she makes up for it at the end with some quieter, thoughtful moments, so I forgave her. Bill Duke (who directed), a huge fave of mine, also made me a bit more hopeful.

For those of you that don't know, "Not Easily Broken" is the semi-classic situation of a married couple growing in two separate directions, one having boo-jee ambitions, while the other one preferring a simpler life. A car accident changes their relationship and stretches it to the breaking point, though the injury was pretty slight in my opinion to cause all the drama.

But at least there were realistic situations that I could relate to, always absent with me with Perry. Mother-in-law blues (played with an off the hook hilarity and realism by Black film staple Jenifer Lewis), keeping up with the Jones', hiding behind appearances, the importance of knowing most of us are exactly the same (even the ones we hate the most) are all addressed here. And yes, forgiveness was the key theme and moral in this film, but at least this time I didn't feel like gagging up my Raisinets when it was brought about, despite all of the hellacious cheap soap opera music abound on the screen.

I say a definite rent, if you're into this sort of thing.


Here is the trailer for "Madea Goes To Jail"; proceed at your own risk....

A Coupla Trailers....

First up, Jamie Foxx's "The Soloist":



Despite Jamie changing it up, and despite Robert Downey Jr (whom I love), I'm cool. Y'all report back.

Here is "Madea Goes To Jail" (sorry Sergio). Make of it what you will:



Despite all that's gone on here in this blog about Tyler Perry, Madea makes me laugh (so sue me!) The films are never, ever as funny as the plays, not even close, in my opinion. Here is a clip of the play "Madea Goes To Jail". Hilarious!

Some Questions...

I saw a bunch of films while I was on my hiatus a couple weeks ago. One of them was "Belly 2" (yikes!). This P.O.S. doesn't warrant a review, but all I want to know are 4 things: 1) how you gonna name something like it was a sequel, when it has absolutely ZERO to do with the first one? 2) who the f*ck keeps putting The Game in movies? Stop it! Right now! 3) isn't Shari Headley like 45? Why was she playing the young ingenue role opposite The Game? Is she still married to Play from Kid 'N Play? (two in one question)

4) what is that mess on The Game's face gonna look like when that fool is 60? Soooo many questions. Sheesh.

Tyler Perry continues his opening at #2 reign. Think he'll ever make it to number 1?

Why do people keep saying SNL's Kristen Wiig is funny? Whatever they're seeing, it is completely and totally missing me. Completely.

Why am I not excited to see "The Secret Life of Bees" despite all the Black power involved? If I get even a whiff of 'The Magical Negro Syndrome" all I hear and see is the white snow and white noise you see and hear when there is no TV reception.

Since I know maybe 2 of you will see it, did you know Jada Pinkett plays a Black lesbian in "The Women"? hmmmm......

Is anybody checking for the Kerry Washington/Samuel Jackson vehicle "Lakeview Terrace"? If any movie is begging to be bought from the blanket of the corner bootleg man it's that one.

Did you know that The Cheadle's "Traitor" was co-written by Steve Martin? Me neither.

On hiatus I also saw a bunch of movies I was on the late train on. When did Jeff Bridges, Gary Oldman, Eric Roberts, and William Hurt (i.e. Ironman, The Hulk, The Dark Knight) turn into such grizzled old men, and had the hot only a few years ago? Thank God Black don't crack, haha!

and oh yeah--madame invisible says start following her blog on blogger!

Reader Comments And Emails....

Hey all. Been gone a couple o' days....mama had bidness to attend to :-)

I've gotten some very interesting comments the past couple days...surprise, surprise (not) more than a few involved the great Tyler Perry. Of course Sergio weighed in:

'I have a friend who met Angela Bassett shortly after she made Meet The Browns and told him confidentially that it was the absolute WORSE experience she had ever had in her career. That Perry has no clue what he's doing either in directing or handling actors.

Of course when it came time to promote the film she couldn't say that, but let's face it. She's a 50 year old black actress in Hollywood and it's a struggle just to get a role let alone lead roles. Which is why she's now going to be a regular on the last season of ER (wearing a really bad wig judging from the promo pictures of her on the show). But I have a feeling that other actresses who have been in Perry's movies (Lathan, Woodard, Givens, etc) would all say the same thing about Perry in private too.'

From IW: Dang! And Manchild, who may be the most positive blogger in the Afrosphere, had this to say:

'Ouch!!

I'm hoping and praying that Mr. Tyler Perry will survive his "humble beginnings" as a film director, screenwriter, and producer. It's just a matter of time before he triumphantly delivers the high-quality films people will gladly pay to see.

Despite Mr. Perry's short-comings right now, at least he's involved in the game and doing the best he can to live out his "Big Dream" while he still can.

We all know some creative person who's been shackled and chained by "perfectionism" and the "paralysis of analysis" for years and died with their dreams still in them. Fear and Peer Pressure have persuaded many aspiring writers, actors, and film producers to give up, quit, and abandon their dreams too soon.

Adversity, Setbacks, and Failure will prove to be Tyler Perry's most effective teachers. Time will be his most reliable critic. Been there. Done that.

Manchild'

From IW: Interesting take, and well said. There is hope on the horizon...from reader Awkward Black Girl:

'I have gotten my wish! Tyler Perry is taking a step back to produce OTHER filmmakers and writers. YES JESUS!!!!!

http://blackfilmacademy.com/2008/09/22/news-tyler-perry-to-produce-other-filmmakers/'

From IW: lol! On another note, from my self-proclaimed lurker "KS" in Kansas-for my Midwest fam, there is an amazing showing of works in Topeka by Separate Cinema from Oct 1-Nov 1.

It is a festival of Black literature adapted to the big screen with the cinema of books by Earnest Gaines, Gordon Parks, Chester Himes, Richard Wright, Alice Walker, Toni Morrison, and a host of others...wish I could be there! For more info on this wonderful fest, entitled "From Micheaux To Morrisson" click HERE.

The Family That Preys (On Your Wallet) Part 2

OK, I saw "The Family That Preys" last night, and while I agree with Miss Snob on some points (review posted yesterday), I am going to take a different, albeit less detailed approach.

Let's pretend that you are an alien from another planet (or another country), and had never heard of Tyler Perry and his movies. You would:

-Wonder why a movie that you think is about an affair has no real mention of said affair until a whole hour into it.

-Be perplexed on how in this day and age, someone can withdraw a substantial amount of cash in a joint (or maybe not joint, it unclear) account without the primary person's permission.

-Be puzzled about how the supposed secondary storyline, while not very interesting, is somehow stronger than the supposed disjointed, wtf first one (I say it is solely based on the performances of the two veterans in the secondary one, Alfre Woodard and Kathy Bates).

-Need an explanation of why Sanaa Lathan stays married to a man, or even got married to a man she so obviously loathes on every level.

-Side-eye the marriage of a zestmaster in an afro wig, pretending to be married and straight, when it is oh so very clear he ain't (not that there's anything wrong with that).

-Marvel at how Taraji P. Henson's eyebrows seem to be two emoting mini-actresses in their own right.

-Not find anything even remotely attractive about Rockmond Dunbar, and wonder why anyone would (OK that was really just Ms. Invisible, but someone has to be thinking that too!)

-Just say OK, what was that? at the climax, when a man leaves someone he'd been with for four years and had a child with like it was a one night stand, with no explanation.

-Have no inkling still of who Tyler Perry is, and why he keeps making the same movie over and over (so someone told you), but you do know that Sanaa Lathan, Taraji P. Henson, and Robin Givens had the fiercest hair on film record, and wonder where you can buy that amazing flatiron.

That is all.

All in all, I never get worked up about the works of Tyler Perry, but just have a kinda watchful resignation to it. His movies never really do anything for me, but I know they do for others, and I'm OK with that. I also would never, ever pay to see one, and am very glad I didn't have to with this one.

I would compare this movie to a situation when you are really, really hungry, and there is no place familiar to eat, so you pull your car over and give one place a try. The meal is bland and pretty ordinary, but you aren't hungry anymore for the moment, and you can at least say you tried a new place, tho you won't be back. You walk out the door and promptly and completely forget about it, and get hungry two hours later.

Yeah, it's like that.

btw, what happened to jennifer hudson being in this movie like everyone was talking about a few months back?

The Family That Preys (On Your Wallet)

There is a blog that is always on my radar called "The Black Snob". Miss Snob writes in a way that I wish I had time to do. Unfortunately I don't; I barely even have time to read her thought provoking and involved posts. Here is her detailed review of "The Family That Preys" via Sergio (who I'm sure printed this review on flyers and handed to everyone in the Chicago metropolitan area). Veeerrrry interesting:

I Saw A Tyler Perry Film And Didn't Walk Out In The First 15 Minutes....But Not Because I Didn't Want To

The Snob went to see Tyler Perry's "The Family That Preys," for free, as a guest of a friend. She went with an open mind and that mind was so dulled that it couldn't cut through Perry's horrid dialog, shoddy stagecraft and hysterical directing.

I didn't have high hopes, but I didn't expect what I got.

When I read how others saw this film I wonder if they were grading on a curve. Or maybe his previous films were so poorly executed that by comparison this one was brilliant. But I do know this:

I've watched a lot of black films, many which barely passed as "entertainment." They were what they were, imperfect comedy vessels produced by hacks, but hacks who understood film, if only on a hackery level.

Perry is not good enough to be called a hack.

Compared the producers and directors of such high black cinema as "Juwanna Man," "Two Can Play This Game," "Waiting to Exhale" and both "Barbershop" films, Perry doesn't even come close. To say he is a hack would be to assume that he understood the most basic, crudest elements of filmmaking on a budget.

And from what I saw Saturday morning, this man does not.

Words cannot describe how much I didn't like "The Family That Preys." (Although this review comes close.) The corny, hackneyed mish mash of "Days of Our Lives" and "Soul Food" for a plot could be forgiven. The sickly sweet use of the Lee Ann Womack's relatively recent country classic "I Hope You Dance" could be forgiven. Forcing poor Alfre Woodard and Kathy Bates to go through lines as subtle as a hand grenade. I can even forgive making Rockmond Dunbar's character the dumbest cuckolded man in the history of cuckolds. But I cannot forgive the fact that Perry either does not or refuses to learn the basic elements of filmmaking.

[SPOILER ALERT! If you actually want to be "surprised" by Perry's been-there-done-that plot, please stop reading. But if you watch this film and can't see what's going to happen from a mile out, you obviously don't consume much fiction, whether as a book, TV show, film, music or long form poem.]


Show, don't tell: This was the greatest sin of the whole movie. There's a wedding at the beginning that you never see take place. There is an affair that you never learn any of the "good" parts of -- like the seduction, the courtship, the illicit meetings, any allusions of sex or intimacy between those two characters, allusions of any love or lust between the two. All parts of the affair are learned through a list of talking points uttered by various characters throughout the film.

There's two "children," one per each cheater. One child you only see via the back of his head and the other is invisible, despite both being mentioned. The history of the friendship between Woodard and Bates' characters is verbally mentioned, but not shown. Potential for the examination of class/race issues are offered up but never probed. Woodard takes Bates to an impromptu Baptism when there was no lead-up explaining why Bates would want to be Baptized. There are no conversations between the two about life and death, the existence of God or who Jesus Christ is. Just a Baptism out of nothingness, never touched upon, referenced or explained ever again.

And rather than show through better filmmaking why Sanaa Lathan's character is such a gigantic bitch or why she is obsessed with money, there are jibs and jabs from her sister (who comes off almost equally as bitchy), regular references to luxury items and finally, a blurted out half-assed excuse/motivation for Lathan's nuttiness when she barks at her mother for driving their father away who apparently abandoned them. This is the first and only reference to the man and how his actions affected their family.

Attack of the two dimensional character: There were only two types of characters in this movie -- the good, salt of the earth, working class-to-poor people and the evil, college educated, stuck up rich people.

Does Cole Hauser's William Cartwright have any motivation to cheat on his wife that we know of? No. Do we find out the nature of his marriage? No. Do we learn why he and his mother have such a frigid relationship? No. Do we find out why he loves or does not love his wife or Lathan's character? No. Do we find out why he chose to carry on a years long affair with Lathan's character? No. Do we find out if he had a relationship with Lathan's character's "son" (who Perry -- shock, shock -- outs as Cartwright's son? No. He's just evil.

The same goes for Lathan who is a cold, calculating and cackling witch with no explanation. She also turns into an immature, nonsensical woman who doesn't act anything like a tough, hardworking woman who managed to pull herself up out of poverty and earn an Ivy League education. We don't learn that she had any love for Cartwright until shortly after the film's climax. I'd assumed she was playing him for the money given how "evil" she was, but she tearfully blurts out the most trite and cliched, "He loves me. He's going to leave his wife and marry meeeeee!" bullshit that is even below "The Young and The Restless" standards.

The "good" characters are just as awful. Dunbar's "Mr. Cuckold" is the stupidest wronged spouse in the history of wronged spouses. He is written as so weak and so witless he defies belief. When he learns his wife has a separate account with more than $280,000 in it and asks her about it, she castrates him telling him he has no business looking at her money and that she gets the cash from "bonuses."

She also has a "bonus" car given to her by the company and a "bonus" house, also from the company.

Yet, Dunbar's character doesn't figure it all out until the very end where he uncharacteristically slaps Lathan so hard that she flies over a diner counter top. While this got a lot of laughs from the audience, no doubt under the guise of "she had it coming," I was still disturbed as it wasn't necessary and gives the impression that there is a justification to physically assault another person, especially a woman, if she had it coming.

Wildly gesticulating caricatures: Perry does not understand how you can't direct actors for film the same way you'd direct actors for stage. Too often he has instructed his talented actors to "overact," as you would do for a stage play. On the stage you have to make wider gestures to fill the open theater void. Film is an intimate medium. Actors have to dial back so the dialog and interactions seem real. But the actors weren't dialed back, so they all sounded like cartoons, especially with such unimaginative dialog.

Repetitiveness: Apparently Perry was worried I wouldn't get a few points, so he had his characters repeat them over and over. For Lathan, "I get bonuses!" From every character to Dunbar about his dream of his own construction company some variation of," You need to get your head out of the clouds and be thankful for what you have!" Everyone except Woodard's character, "I need a drink." Having a fresh from work (and two fresh from cheating) threesome return home needing a shower almost immediately. Largely because Lathan and Hauser's characters, hint, hint, wink, wink, did the nasty that day. Perry's character just needed a shower because he was funky from work.

Perry is a lazy screenwriter: I could go all day naming plot devices that did not work or make sense, but if I had to pick one, the most maddening would be how Dunbar's character finds out about the secret account flushed with cash. He learns of it from a bank teller while trying to make a withdrawal. By this point, he and Lathan have been married for four years. The teller asks him which account and he is confused, asking the teller where the extra account came from and what is in it.

How dumb is Lathan's character if she didn't have the presence of mind to open her "secret" account at a different bank? Or if she had to have it at that bank, why would she have her husband's name listed on it? Because that's the only way the teller would say "which account." Because he gave his name only accounts with his name should have come up. Plus, this undercuts the fact that they've already been married for four years and we are to assume that he has never gone into the bank to make a transaction not once when his name is on his wife's secret account.

What the hell, people: Out of all these things I've mentioned, I guess my biggest disappointment was with the audience.

I don't have a problem in people liking and enjoying Perry's stage plays and films, but let's not fool ourselves. This is some piss poor film-making and everyone in that audience should have known it. THESE are the same people who saw "Dreamgirls," who watch "CSI: Miami," who read "Waiting to Exhale" and whose favorite films are "The Color Purple," "The Best Man" and "Bad Boys II." These are people who have seen both excellent cinema and some of Hollywood's finest hackery, yet they applaud something they have to know is a vastly inferior product when compared to "CB4," "Hitch" or "New Jack City."

I can understand why someone would love "Beauty Shop," the boring sequel to the "Barbershop" films, or "Glitter," that "A Star Is Born While a DJ Saved My Life" nightmare by Mariah Carey because as bad as those movies were the people making them understood the basic elements of filmmaking. That way, you could focus on the REAL problems of the film. Not get stuck on elementals you should have learned in either film school or via virtual film school -- a la Quintin Tarantino, a cinephile who consumed mass amounts of movies as he taught himself the craft.

I mourn what could have been -- a watchable melodrama on the subjects of marriage and infidelity featuring black performers.

Seeing actors I like (Rockmond Dunbar, Alfre Woodard, Kathy Bates) and love (Sanaa Lathan, Cole Hauser) wasted in a work undeserving of their talent drove me mad. To have an affair movie with no dramatization of the affair was ridiculous. I wasn't expecting a dry humping sex scene, but would it have killed him to shoot some passionate kissing, a fall on a bed and a fade to black? Give me the seduction. Give me the thickness of the drama. I want to understand what makes a marriage breakdown. By the end of the film, I learned nothing about commitment, family, love or loss that I couldn't find in a fortune cookie.

I realize this film was supposed to be some sort of departure for Perry, going with a biracial cast of characters with a grab for serious drama. But he really demonstrated his limitations as a director and it's hard to "cross-over" when you know that you can't screen your films for critics. And this is likely because Lion's Gate, which put out this film, knows it wouldn't even fly as a film student's freshman experiment. They know Perry can't direct and don't care, because they know black people who know his films are overacted with lots of shortcomings, love Perry anyway and focus on the good more so than the crappy.

So I applaud Perry for his ability to sell his vaudeville to a black movie-watching public who is willing to forgive his egregious sins of cinema because they are so starved of visions of us on screen. So starved that they are willing to pretend like "The Family That Preys" is "Unfaithful" meets "In Living Single" when it's really neither.

It seems I am too big of a snob for Tyler Perry films. My desire for the film fundamentals of A + B = Basic Filmmaking to be met are so strong that not even the power of blackness can override it.

Try harder.


From IW: Wow!