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Review: Tyler Rides, Dances To 2Pac & Brawls But Still Fails To Convince He’s “Good” Enough For The Job!

Review: Tyler Rides, Dances To 2Pac & Brawls But Still Fails To Convince He's "Good" Enough For The Job!

Tyler Perry’s new film Good Deeds opened in theaters yesterday; it stars Perry in the lead role with Thandie Newton, Brian White, Gabrielle Union and Phylicia Rashad. I caught one of the earlier showings here in Chicago, but before I get into my critique of the film, I supposed a brief summary might be in order…

Wesley Deeds (portrayed by Perry) is a soon-to-be married successful business man, working hard to hold on to the company his late father built but the juvenile ranting of his younger brother (White) and pressure from his domineering mother (Rashad), makes maneuvering his responsibilities less than thrilling. Wesley finds himself stuck in a humdrum existence always set to do the right thing, even if the right thing may not be right for him—that is until he has a run in with down and out single mom, Lindsey (Newton), and the rest is history…

…and history tends to repeat itself, doesn’t it? Good Deeds felt like a retread of a retread of a retread—at best it was a lifetime movie with a lobotomy. The biggest hiccup of this film is that it tried too hard to be serious instead of actually being what it had the most potential to be: a romantic comedy. My overall thoughts when leaving the theater was that, Perry still doesn’t get it; it’s like he’s in a bubble where he believes he knows what’s best for his audience (and that he’s evolving in his craft) but really he’s late to the party and has no clue what time it started in the first place. On a positive note, this film showed he’s gradually getting better with the technical aspects of his films, with the cinematography giving off warm colors and polished visuals that had a soothing effect on me as I sat and watched. But that plus in the column may not be attributable to Perry, more an honor to bestow upon the cinematographer, because the foundations of this story—the writing and the intuitiveness needed for good directing is woefully lacking. Perry dips into the same recipe over and over again, only changing a few elements here and there to give the illusion that he has progressed as a filmmaker. Simply put, he wants to be taken seriously but sitting through a film like Good Deeds, although it wasn’t the worst of the worst, it was impossible for me to afford him the validation he so desperately wants; it just wasn’t good, title not withstanding.

Here are a few of my issues with the film:

Tyler’s performance as a romantic lead seemed awkward; his intimate scenes with both Natalie (Union) and Lindsey (Newton) at times were chuckle-worthy, stiff and uncomfortable to watch. It’s like witnessing your drunken gay friend trying to do a test run on being straight; it’s cute and clumsy but far from believable and it is for damn sure not sexy. We are asked to believe in this building romance and most importantly believe that he is this conflicted man torn between these two beautiful women but it’s not sold to us on the screen. Instead Tyler continues to play the same non-Madea character he has in many his film’s, the even-toned, stoic man that doesn’t lend much to the story besides some deep chuckles and a few speeches of wisdom that seems to tell us what we should be getting out of this tale instead of showing us. But wait, there’s more…

The characterizations in this film are overwrought stereotypes we have come used to seeing in not only Perry’s films but other black dramedys as well (hint: Jumping the Broom). There’s the affluent family, with a domineering matriarch and grown men (patriarch included) that cower in her presence. There’s the rude-loud mouth sexist black brother with a perpetual scowl on his face that blames everyone and everything for his own shortcomings, there’s the ditsy white Best friend (portrayed by Rebecca Romijn that reverses the usual trend in mainstream films but even it is becoming so overused in Perry's films that it’s not refreshing anymore) and next, the dreaded angry black woman, full up on attitude and bitterness. Her life is so tragic that she lashes out at everyone, taking her frustrations out on her children and is too proud to recognize a good man, a kind gesture…a “fill in the blank”  when it comes along; she’s in need of saving because she can’t save herself.  Each of these characters not only encompasses their stereotypical archetypes to a tee but they do it with a level of seriousness that makes one wonder, “is it really that bad for black actors in Hollywood?”

The film was also far from absent of one of Perry’s crowning glories of cinematic sin; his dialogue. From the wonderful world of clichés to the downright ridiculous, I give you Good Deed’s greatest hits…on second thought, I didn’t have enough paper to right them all down but what I will say is this [turns to Perry] please let someone else have a go at writing one of your films. For example: A very awkward scene between Wesley and Natalie over a blond hair, came across as one of the most stunted moments of dialogue in any Tyler Perry movie I’ve seen to date, The scenes with Walter (White) was so cringe-worthy, I felt embarrassed that I was in the theater suffering through it. I could go on and on, from Wilhemina’s (Rashad) soap opera-like exchanges with her on-screen sons, to Thandie’s continuous schizophrenic confusion over whether she should be playing her role as a slave on a plantation, a hardened Brooklynite or a throw-back to Halle Berry’s Khaila in Losing Isiah. Sometimes I wonder if she has studied Hollywood’s version of American black women or actually been around a few, I've never felt like she understands the cadence of American dialect unless it’s exaggerated Ebonics. It didn’t feel true to the character nor the background that was given to us in regards to who she was; however, out of all the hiccups and trite portrayals in this film, one of the worst had to be Tyler Perry’s Wesley.

And isn’t that what it all boils down too? Set aside the lumbering dialogue, paper-thin storylines, one-dimensional characters and cookie cutter films that Perry churns out almost every year—the big elephant in the room is whether Tyler Perry is not only lacking as a filmmaker but as a leading man. I couldn’t help but wonder if this Good Deeds attempt was a precursor to his role in the Alex Cross film? Was Good Deeds a way to indoctrinate his audience to the idea that he is indeed leading man material, one that women can swoon over, one that commands an audiences attention, one that can be as much a an intense and passionate as Denzel or any of the numerous white male leading men that are paraded across our screens every month.  Examples of Tyler’s quest to change his image through this film:

  • His character has sex (yes you read right, sex!)
  • His character dances to 2Pac
  • He rides a hog (that’s a motorcycle for those of you not up on biker lingo)
  • He has a brawl

But even with all these attempts at machismo, the answer was more than clear that Tyler is not a leading man, at least not in the sense that he wants to be. He is Madea and will remain that way because that’s what he does best. When he veers outside of that, he almost always sets himself up for disaster or indifference. No one wants to see Tyler banging Gabrielle Union against a wall because it’s not believable.

That’s not a personal attack against his being or what his sexual orientation may or may not be but simply a fact. An actor can have any bedroom practice they want behind closed doors but what matters is what we see on the screen. Is it believable or is it not? I think many of you may already know the answer to that.

Some positive points:

  • From the costuming; make-up and hair everyone looked great, even Newton’s downtrodden single mom character looked ravenous in this film.
  • The editing didn’t falter
  • The cinematography was warm and soothing on the eyes.

The ending wraps up too neatly and as many rom-coms do, it’s a HEA that doesn’t always drive with the reality of the world, but this is the movie world and in films like that, it’s to be expected. Good Deeds, did not promote itself as that, it wanted us to take it as some form of high drama, a character introspection sprinkled with romance. In that, it didn’t achieve what it set out to do.

So after all this, is the film truly worth seeing? Well, I'll leave that up to each of you to decide. For me, once is enough, the awkwardness alone made me disgruntled by the end. This is not romance and barely comedy. It’s a failed cinematic soap-opera better served to the TV crowd but I fear even they would reject it based on one inescapable reality; the film is boring. In closing and to drive home the point, I'll take from Perry's own words from the mouth of his on-screen fiance Natalie, "You're predictable."

That pretty much sums it up: "Tyler you're predictable," and that ain't a good thing.

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Comments

Donella

I enjoyed Good Deeds! The movie charmed me. I saw it once mid-week with the theater half-full. I saw it Saturday at a matinee with the theater half-full. Saturday's show was a mixed crowd (Black, White, men, women) who applauded at the end. I did have a few moments during the movie where I asked, why didn't she (Thandie's character) downsize to a studio apartment, why didn't she sell the car and use public transportation, where was her or the child's father's extended family (no big mama, sister, brother, aunts, uncles, cousins) to help with daycare, no GI benefits for the daughter, and as someone else noted *who leaves large bills of cash in a visible hole in the mattress* knowing (because the landlord told you it would happen) the sheriff was coming to evict. Also, she cleans a building for a year, but doesn't know what the company produces or that it has a daycare (why didn't Deeds tell her about the daycare). Don't you need to schedule time (can't do it overnight?) to obtain a passport, get vaccinations, pull a child out of school for certain types of trips. Also, the storyline between Mother Deeds (Phylicia Rashad) and Bad Deeds (Brian White) remained unfinished, unresolved, undefined. Mother Deeds provoked Bad Deeds at every chance and spoke to him and about him as though she hated him. Why? We never find out. Bad Deeds oversteps into his brother's life at every chance, Good Deeds seems powerless to stop him. Weird. Had an uneasy feeling about the overall theme, that a man prefers a needy/destitute woman to a independent woman with a career. However, the career woman wasn't treated as a villain. Despite these questions, I enjoyed the movie.

ladyb

"Tyler banging Gabrielle Union against a wall" … *mentally cringes" ugh!

Pamela

Wow, She really hit home. I have not seen the movie yet, granted I am not running a marathon to go see it-it will be a last resort type of movie. I used to criticize TP for his "Madea" movies-which I refuse to watch but when he ventured off of onto other things, I want to support him but he just is not a convincing leading man. He is as awkward a leading man in a movie as he is a straight man in reality. I am happy to see that he is trying to widen his horizons but he is just not there yet.

LeonRaymond

OMG! Wow was the film that bad, I didn't see it and i honestly don't go in for his style -type of films, nothing against him at all, I just like much more edgy fare or genre, and I don't go to see Judd Apitow films either, they do nothing for me too. But was TP'S film that bad?. were there any upsides. positives. Okay if you could compare it to a throw back film from the 60's or 70's what film would you say he was trying mimic or in the ball park in or had the aura of ?

R Andre

I support Tyler Perry and his efforts as a good hearted person who has survived and become a self made success. But as a developing actor myself, while I support his work being that it comes from a good place. I don't expect to be artistically fed. In the film itself the actors really don't have a lot to work with building the characters, it's like trying to make a pot of gumbo with water, salt and shrimp….wow. And when the justification of the characters actions in relation to the story don't match or is all over the place…you just do what you can to fill in the blanks and hope you made something out of it, I agree with some of the comments previously stated. Mr. Perry should let go of some of the spotlitght run things from behind the scenes and observe. Now that he has established himself and has a fan base, he can get in collaboration with unknown gifted writers and directors who have put in time to develop who can use opporutunites to get their work noticed. He's carrying the opportunity to produce quality films that can be voices for minorities who aren't represented in Hollywood, TPTB in industry believes that there is no money in minority films or actors so they don't invest. Mr. Perry's films make money but the film industry don't take his work serious due to the lack in artistry compared to other industry directors. They assume his work is like junk food that only minorites enjoy and assume that's why it works for him. At some point he will have to step it up, because his formula will only last so long..it's business gotta keep evolving, while he still has the power and resources.

anon

Thandie newton lives in islington a middle class area of london sends her kids to private school grew up in cornwall (an ALL WHITE TOWN ) and went to private school herself then went to cambridge. She barely even knows how black BRITISH women behave let alone black americans! its the equivelent to a white woman playing a black woman in a film frankly. She actually thinks its "cute" to transform herself into these vile black women on screen and I for one am surprised there hasnt been an outcry that a mixed race british woman not only constantly takes roles from other talented black american women but patronises and stereotypes them in her films then leaves going back to her nice middle class life in england where she would NEVER play these type of roles (check out her perfomance in run fat boy run and rocknrolla for evidence) american blacks dont be fooled by her skin tone she looks down on black women and does not have to deal with that fall out that may black women face when they are depicted in this way.

sandra

@AKIMBO – Thank you! And… These long-as* posts/sermons are very unpleasant. Why must the comments section of all hot topics turn into a dissertation/meandering diatribe board?

Akimbo

To careycarey, I'm not writing a thesis. The poster downthread claimed that white people aren't as brutal to their own as we are to TP, and I offered an example that immediately came to mind. If you're so intent on finding 1 million more Google [insert white artist's name here] and terms like "douche," "hack," "f*ggot," "gay rumors," "asshole," etc. You'll find plenty, though it's clear that no amount of data will make Tyler Perry less of a martyr in your eyes. The man has "endured" little more than accurate criticism and speculation about his sexuality. The way you and others cry over the man would have folks thinking he was a leader in the civil rights movement or an abolitionist instead of some dude who makes crap movies. Think less MLK and more Britney Spears.

Quintin

Do you really want to use a cliche to ridicule someone for using cliches?

CareyCarey

@ Akimbo. Akimbo said: "White people rip their own to shreds all the time. Brett Ratner, Michael Bay, James Cameron, Bill Prady, Lorne Michaels, Adam Sandler, Will Ferrell, and David O Russell are always getting shat upon for various reasons". Well young man, lets put this in the proper context. I believe you're missing the point, rationalizing and justifying poor judgement. White people may "rip their own" but I've yet to see the vengeful attacks leveled against anyone on your list, as I've seen directed at Tyler Perry. Bring me a quote by a reviewer (white) or a gaggle of movie goers that attacks thier sexuality and motivation. That's right, show me where one of theirs has been taken to the woodshed, undressed and whipped a million times for alledged misconduct against their race. To "critique" the products and skills of a director, producer or filmaker is one thing, but I've yet to see any comments leveled against those on your list like "look how he's making "us" look". Or, "he's nothing but a white cracker showing us in a negative light" or "why don't he spend more of his money on giving more of "us" jobs. Come on Akimbo, you know the deal and you cannot deny the truth. Bring me a quote inwhich the reviewer speaks to a person's sexuality (the actor, director, or filmmaker). Who on your list has felt that constant sting? What blog ( white cinema blog) promotes and champions vengeful attacks on anyone on your list? Who on your list has been psychoanalyzed by quasi-reviewers and thousands of arm-chair film critics? That's right, bring me their heads and lets talk the real turkey. I'm calling the big BULLSHIT on your comment. You cannot hide behind your totally ridiculous ambiguous statement. Besides, if all you said was true (not), 2 wrongs do not make "it" right.

CareyCarey

**SPOILER ALERT!** Okay, I saw the movie and it was PIT-TEE-FUL. It was the worst Tyler Perry production of all time. Brian White gets the award for the worst actor of the year… hands down. And, the script was made for school house rock. I mean, I was praying Thandie Newton's last lines were not spoken from were we last saw her face. Gosh, who wrote that mess? Damn, did that movie smell like a C-Grade Pursuit of Happiness or what? "Come on baby, sleep in here while momma goes to work" **Spoiler alert** Lets see, Tyler meets a woman and 2 days later he's crying in her kitchen area. But wait, he has a few tears left for his momma the next morning. WOW. It gets better. A homeless broke black women goes to a Harley Dealership and rides off on a $30, 000 bike! WOW!

JET

Reading over the comments, I see some passion here. I had GRAND hopes for Tyler Perry after seeing "Diary Of An Angry, Mad, Betrayed Black Woman" , but have since been greeted by disappointment. The Last film of his I THOUGHT would be pretty good was WHY DID I GET MARRIED, TOO. That film had a brilliant cast, marvelous acting, and was making some great progression, UNTIL The ending. Killed what was potentially a VERY GOOD FILM for me. What continues to infuriate me is the lack of growth and change that TP seems to exhibit in his work. Love the plays, but his films seem like plays acted out in the cinema,, and there's a vast difference between the two genre's. African Americans embrace and deify our own, and seem content to accept the level to which TP plays up to US. I am Black, but look for deeper tapestries and harmonies in the films I see and pay to watch. But I have given up holding my breath on TP growing. his work is getting better, but I wish he'd let go of the control freak side he seems to have in his productions, and let someone else come in and give him a creative assist. He still has marvelous potential, but until he srrounds himself withmore honest people, rids himself of those YES MEN that seem to be fenced around him, and the PAYING AFRICAN AMERICAN AUDIENCE/FAN BADE that has made him into a virtual Billionaire demand better, he'll continue spinning out the fare he seems to think is GREAT WORK. It's NOT. It also not easy to create something that is AWESOME in film, but TP seems to be GRADUALLY becoming an OKAY Filmmaker. Maybe he can put aside the mutual grudge that he has with Spike Lee, and they can create some marvelous works together.
TP is battling Racism in Hollywood (2100 screens for GOOD DEEDS, and 3000 for ACT OF VALOR; Not a coincidence). But he's not making fleshed out, 3-D characters, either. GET SOME HELP, BRO! PAY SOME FOLKS OUT THERE TO MAKE YOUR WORKS MARVELOUS. The potential is there, but Tyler Perry seems content with choosing Box Office over Quality film-making. WHY NOT DO BOTH NOW? He's got a loyal fan-base. Rambling here, but hopefully you get my point.

Tyrone Tackett

@CAREYCAREY!!! I just left church and came home and turned on my computer to see yo foaming mouf ! You from the briar patch??? Lawd have mercy…The only thing that comes from the briar patch is snakes, slugs and hobgoblins! Which is you??? It's a good thing we pontificate behind firewalls while smoking adderall. You need to pick up a copy of the excellent book, "SLAVE CINEMA-African American film in crisis" by Andre Seewood and channel some of that so-called cinematic chutzpah you have constructively in a better understanding of this film miasma(you like my big words ;-). You a sideliner, never been in the film world trenches-so it's easy for you to huff/puff and drink the purple Kool-Aid. And another thing, leave my sweet sorghgum Erykah outta this….Yours Truly, Tyrone ;-D

Ash

I think that Tyler Perry's problem lately is that he knows he's been not well-received by critics in the past and he wants so badly to be a highly regarded and rewarded by the black community that he tries to appease them by trying to be something he's not. I think he should stop it and just be himself. If he's been most comfortable in the past doing "Diary of a Mad Black Woman" and "Madea" then that's what he should do. He doesn't have to please critics which he almost certainly never will. He should do what's most fulfilling to him and not what he thinks other people will think is "deep" (like he tried to do in "For Colored Girls" and apparently in "Good Deeds" now). When he tries to do that he doesn't succeed. Whereas, when he does Madea he can't fail because it is what it is. Also, there are so many good actors in Hollywood who aren't straight but can pull off the leading man thing so effectively you would be shocked to learn they're gay. Tyler, apparently, isn't one of these people. I think sometimes when I watch him in interviews that he thinks that he actually has a deep, dark secret which is that he's not attracted to women and that he has the public fooled. It's very funny because it's obvious that he's not, but I guess that's not important…

Clayton

The Tyler Perry hate is tired. Some legitimate criticisms in this review were undermined by statements in it that seemed to be criticizing Tyler Perry personally, like when the reviewer comments on Perry's attempt to be macho. It's an assumption not based on evidence, especially with him playing a heterosexual black man. Most heterosexual black men have sex with women, dance to Tupac, thought about getting a motorcycle and had a fight, both at least once. How else was he suppose to write or play the role? What is the reviewer really trying to say here about Tyler Perry? Let's stick to the craft, shall we? The review was right about the dialogue and the awkward moments. The review could've stood alone from others regarding Tyler Perry films by not saying the "S" word, but since it went there, the only reason why the characterizations could be viewed as "stereotypical" is because Tyler Perry still needs to learn how to develop characters. But this goes for most working filmmakers today. And the only reason why the sex scene wasn't believable is because of the way it was shot/edited. It was jarring the way they dropped the sex scene on us in the first place, and the one angle with just the back of Tyler Perry's head in the frame didn't help. It was like watching a Mr. Potato-Head banging Gabrielle Union against the window. I hated the sex scene. But this doesn't have anything to do with Tyler Perry's ability to be a leading man or his sexual orientation, and reviews shouldn't allude to such. However, he should seriously consider bringing on a talented writing partner until he grows more as a film storyteller.

wordblaze

Oh and sis! Your characterization of Thandie Newton's take on African American women is SPOT ON! Either she's growling, neck rolling or flaring her nostrils. When I see her in other roles, she's softer and vulnerable but poised, graceful. I think you are right. She has NO clue. NO circle of Black women to pull from…because it always feels so inflated and 'put on'. From 'Pursuit..' w/Will Smith…to 'Colored Girls'…it's soooo off. Just surface and superficially played.

wordblaze

Taken from an earlier TP post but think it still applies here:

"When I saw TP on Oprah in the final season…and he remarked about the abuse his mother suffered at the hands of his father, it hit me…he's been trying to 'save' his mama and every other black woman through his male characters. In just about EACH and every film…there is an onery, black single woman…sometimes with a few kids, who is struggling, fighting and clawing back at a life that 'done did her wrong'…then from out of the shadows…with little impetus or opportunity to even fall in love with said woman…a man appears…a very attractive muscle-y (read Harelaquin) who is determined to save said woman from her life and darkness. It gets played out time and time again…perpetuating the Captain-Save-A-Bleep complex…that based on a man's personal experience (witnessing abuse of a mother or female loved one) he determines to NEVER abandon or walk away from women in need…no matter how onery, shady, misguided….he will LOVE her into a new path…. When I saw Oprah and he revealed his past…I realized he's working through a lot of personal issues from his past. Even Madea….when he describes how his 8 year old mind processed his own gun-toting Aunt's take-no-shit stance, the inflated caricature of Madea finally made sense to me. She feels like a fantasy…a superhero…an invention from a child's mind..that would come in and save him from the abuse…save his mother from the abuse. It's just crazy that the STRONGEST women in all his films are often played by himself…(ahem) a man."

Tyler Perry…like Woody Allen, Spike Lee…Quentin Tarantino…is using film to tell stories but more likely to work through some of his personal issues…(for Woodie and Spike I always thought it was about being rejected by women…for Tarantino…there's an obsession with Black culture) for TP it's around gender roles and sexual identity…even if he doesn't realize it.

I've given up on him 'growing' as a filmmaker because I never saw him as one….his plays and films are about purging demons and his audience is along for the ride. Let's let him go. Let him do what he is doing and start focusing on other filmmakers who yes, may be working through issues through their art, (who isnt'?) but who are also tweaking our inspiration and imagination with new, evocative storytelling that shows us as complex, intense human beings.

Adam Scott Thompson

And yet, "Shame" director Steve McQueen earns no shine from "the community." SMDH

Ska-triumph

Wow. It's really become a cyclical thIng to expect fierce debate around TP and his oevure. I wonder how voracious in our comments would be during SPIKE's or the Wayans' prime. Still, even with what I felt to be a clearly well thought-out and thorough critique, my fellow commenters move me to ask (again?!) a couple of main questions. Lemme apologize in advance for any typos since its very late and I'm on my iPhone:

Johnnie MD

My best friend and I went to see this film yesterday. I always make it a point to go out and support a film by a black filmmaker when it is showing in my city because it is not often that we get the chance to see such films in Tucson, AZ (I'm really hoping that Pariah makes it here before it's released on DVD). We both read this review together after watching the film and we found ourselves constantly saying, "I agree with that!" or "That's how I felt!" Everything written in this review about the film is dead on. When we left the theater we both said that we felt mostly uncomfortable throughout the length of the film. The intimate moments between TP's character and either Gabrielle Union or Thandie Newton were very awkward. I cringed during those moments. I also felt uncomfortable when Brian White's character went off the rails (which he does throughout nearly the entire film), and those scenes lasted much longer than was necessary. You'd think he was done with his rant, but then he comes back with a vengeance to finish what he started to only end up looking like a fool. I felt that Thandie Newton's portrayal of Lindsey's persona was similar to the persona of the her character in For Colored Girls, which, as my BF aptly pointed out, is probably why TP considered her for this role. I think the most believable actor/actress in the entire film was Jordenn Thompson who plays the role of Lindsey's daughter named Ariel. Yes, she was even more believable than Phylicia Rashad. TP's portrayal of Wesley was not interesting at all. It would not hurt if he did some work with an acting coach to work on his diction and enunciation. There were many times when I could not clearly understand what he said. Although, the fact that this film is not so great can not be placed squarely on the shoulders of the performers. The writing was at times just terrible. Many of the choices that TP made in writing this film did not make sense and/or were inconsistent. One example that comes to mind is that early on in the film, TP makes it a point to introduce to nearly every black stereotype about the 'angry black woman' or the 'black man who blames everyone for his own problems' but then in an exchange between White and Rashad, White's character makes a reference to his mother being found in a tailer park by his father. How many black people do you know live in a trailer park (not to say that they aren't any at all, but they are probably a small minority of black Americans)? Why not just say projects or ghetto? He could not have been worried about offending black women. He already 'went there' when he unleashed the 'angry black woman' stereotype (Ok, this may not seem like the two are related, but they are and it does make a difference if you are looking for authenticity). On the technical side, I agree that the cinematography and the editing of TP films are gradually getting better. I hope sound is not too far behind. His films always struggle with sound and this one was no different. I personally think that sound is 50% of any film (except for maybe The Artist, but I have not seen that yet).

TP does generally use the same formula over and over again, but that's because it works for him. So, I don't really blame him for that, but it would be nice to see some thing unexpected. Which is why I am looking forward to the release of Alex Cross. That film was not written nor directed by him so hopefully we'll get to truly experience TP as an actor.

rose

Saw the movie and thought it gave face to homelessness and how those who have much can help someone in need. Also the film showed how mature people can leave a relationship without drama. By the way, how many films have you written, produced, etc. Give Mr. Perry more credit for having the tenacity to pursue his dream. It takes time to master any craft. See the forest and don't cut down the trees. Of course, some of the characters could have been more developed; but black people go to see Mr. Perry's films because we see that he is giving back to the black community. It is like going to vote. We go to pay our money like a vote for Mr Perry to succeed. Just like we will go out to vote for our black president to succeed even though there are plenty of nay sayers about the job he is doing. We support black people and don't try to tear them down. I sure would like to know about what the writer of the review has accomplished so far in their life and how long has it taken this person to get where they are in life without making some errors along the way.

sharon gee

I LOVED THE MOVIE NOT WITHSTANDING THE FLAUDS. I GO TO ADVANCE SCREENINGS AT LEAST 3 TIMES A WEEK AND I'VE SCENE 3 OF THE WORST FILMS OUT OF MAINSTREAM – WANDERLUST, GHOST-RIDER, and GONE BACK TO BACK AND THEY DON'T CRUXIFY THEIR FILMMAKERS AS MUCH AS OUR BLACK CRITICS REVIEW THEIR OWN because they support their actors to succeed and keep trying. They bring out the positive of a film than the negative thats why you see The Artist in front of Oscar noms. Who the hell goes see a silent film? I just saw Tylers move Good Deeds and I thought it was a positive good movie with a strong message that needs to get out there. You pick apart his movies like you doing an autopsy!!!! Give the dude credit! He isn't trained but he taught himself as a self-made film-maker giving jobs to hundreds of black actors and D list white actors!!! The theater erupted in applauds after an hour of tears, laughter and "you tell it!". It was refreshing to see his subject matter mature and inspire. Support positive black movies and maybe when we can get more money after green lit films, his technique can get better!!! YOU ALL ARE SO NEGATIVE TOWARDS A POSITIVE BRUH!! DAYUM!!!

AJ

I think if Tyler Perry would just understand that no matter who writes it, shoots and produces it as long as he is the director he will still get ALL the credit. Credit has to be the only reason he refuses to let someone with talent write his films.

TYRONE TACKETT

@CAREYCAREY- Never fails that there's always one of the Negro "sheeple" out here that will take any constructive criticism as some attack on TP. It's obviously you haven't learned enough about film critique and constructive criticism that Monique displayed in her review. I'd even wager you believe that Eddie Long has done no wrong and that he should wear a crown…

Laura

God Bless you Monique. I don't know how you did it. I remember attempting to watch Medea go to Jail. I couldn't. Just couldn't get through it. I know my girlfriends will want to see it. They always want to go on opening weekend. For his previous films the movie theaters were sold out (thank God). When "Good Deeds" come out and my girlfriends call me up to get together and see the movie I'm going to tell them that my airplane was hijacked and I ended up in Chile. That will work.

Kia

Enjoyed the review Monique. My draw here is Thandie Newton, but I was interested to hear that there are moments not rarely showcased in TP's films (sex scene, him fighting out of drag etc). My hope would be that if Tyler wants to take risks and produce more challenging stories… please do give the task to another writer or writer/director.

CareyCarey

Dang Sergio, I thought you have moved past this type of review? This piece was nothing more than fodder and bait for the rest of the Tyler Perry haters. Oooops, I should have said the hate Tyler Perry space cadets. While reading this it became glaringly obvious that it hurt your soul to say positive words about this man or his movie. I mean, you opened with a negative blasts, then say a little something good, and then slam the man with a Yeah But! Sergio my man you gotta bring your thang up a notch. Your gravy train of playing to the babies momma crowd will surely drag you down and your professionalism will soon follow. Respect yourself even if you cannot find it in your heart to give TP all the respect he so deserves.

TYRONE TACKETT

Monique-a great, nuanced critique of a conflicted filmmaker. I'm waiting for him to exhale. Good Deeds won't get any of my good money and I certainly won't get double-crossed seeing him in I, Alex Cross. I don't expect Tyler to be a Savior for Black Cinema but I would expect an artist to experience constant elevation, core expansion(shout out to Rakim). Sadly, Perry has gotten too much, too soon and his maturation is stunted. He needs to take a sabbatical and figure out what does he want to portray and perpetuate as a filmmaker. Too bad, he's not at a stage where he can identify his weaknesses and find those talented 10th's who can inspire and help him grow -just like the Black film audiences who support and defend his artistic choices need to.

ShebaBaby

Caught the film last week and your review is spot on to what I thought about it while leaving the theater. Boring…Dry…Predictable…Awkward. Also I can't believe that "Tyler the Christian" put a sex scene in the movie. What will happen to his uber Christian audience when their kids get an eyefull of that super awkward scene?

Adam Scott Thompson

The Antichrist of black cinema.

Dankwa Brooks

"Good" Review! *rim shot* but seriously, very well thought out and executed even saying some nice things. Even though I'm not a fan of his directing I'm often put in the uneveiable position of defending him like you did pointing out the "Good" stuff.

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