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Madea's Family Reunion Movie Review |
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Mar 25, 2008 at 02:10 AM |
 Director :
Tyler Perry
Starring : Tyler Perry, Blair Underwood, Lynn Whitfield
Trailer for Madea's Family Reunion
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MovieMaze.de - Trailer (Quicktime) (imdb.moviemaze.de)
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The plot of Madea's Family Reunion
While planning her family reunion, a pistol-packing grandma (Perry) must contend with the other dramas on her plate, including the runaway who has been placed under her care, and her love-troubled nieces.
Madea's Family Reunion Movie Review
Review by Adam Nayman:
Madea's Family Reunion is a movie to angry up the blood. It condemns spousal abuse, but plays child abuse for laughs. It protests the objectification of women while leering for a small eternity at a nubile girl's posterior. It has the gall to lecture the audience about dignity and respect even as it panders to every low impulse imaginable.Such tactics have made writer-director-star Tyler Perry a rich man. His similarly risible Diary of a Mad Black Woman was a surprise hit last year. Both films revolve around the character of Madea, a domineering senior played by Perry in drag. She's a homily-dispensing machine whose solution is to cluck, gesture broadly and counsel violence. Consider, please, the implications of a male writer-director who must make himself ridiculous in order to portray a feminist viewpoint. The plot involves Madea helping her niece (Rochelle Aytes) to break free from her violent fiancé (Blair Underwood), while also planning the titular reunion. Review By Travis Mackenzie Hoover:
Tyler Perry must be stopped. The multitasking director/writer/performer ranks up there as the most hypocritical, least aesthetic filmmaker in America today. He’s a man who has no compunction about leering at half-clad women then lecturing that they shouldn’t dress that way, or damning the practice of spousal abuse while extolling the virtues of child abuse.But that’s the way of Madea’s Family Reunion, in which Perry’s titular drag creation offers dubious advice, while a pair of sisters are torn apart by their greedy mother and her desire to push one into marriage with an abusive investment banker. Oh, and there’s a romance between a sister and a hunky Christian bus driver that culminates in a song called “The Courage to be Loved.”The film is fascinated by the very things it tries to decry; Madea is countered by her husband Joe (Perry again), who says all of the grotesquely misogynist things so as to balance the pseudo-feminist caterwauling of Madea. And the film never recovers from the uncertainty clouding what the hell it’s trying to say.Of course, it might help if Perry knew how to write dialogue or shoot a scene attractively, but he’s completely inept on both counts, meaning there’s no escape from the thesis-statement speechifying and ludicrous logic jumps. You start by snickering and by the end you’re crawling out of your skin; the film’s horrible exploitation of various forms of abuse and casual espousal of atrocious behaviour sit rather badly with the final Cicely Tyson-Maya Angelou tag team speech. |
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Last Updated ( Mar 25, 2008 at 05:20 AM )
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