"Madea" goes to the Bank
Tyler Perry's latest movie, "Madea Goes to Jail," has led the nation in box office receipts two weeks in a row.
"Madea" whupped both the Jonas Brothers and Oscar winner for Best Picture "Slumdog Millionaire" in selling the most tickets.
The film, a glossier, updated version of one of Perry's more popular gospel plays, dramatically proves the lasting appeal of Perry's rambunctious, law-flouting, gun-toting grandma, whom he plays in drag, in addition to portraying her lawyer son and her white-haired, pot-smoking brother (you have to be there).
Perry has done so well with his movies that he can attract A-list talent to his cast. Among the cast members of "Madea" are Viola Davis, who received an Oscar nomination for Best Supporting Actress in "Doubt."
But that doesn't mean "Madea" is an A-list movie. It isn't.
In a story that involves a corrupt assistant DA in Atlanta, among other threads, Perry's work still lacks quality dialogue and fully drawn characters.
Perry does touch a chord, especially with black audiences, because all of his movies have a warm heart at their core. Virtue is rewarded. Bad guys always get their comeuppance,.
And all of Perry's films depict smart, upwardly mobile African Americans.
But Perry's comedy is too broad and his serious story lines too maudlin and almost always predictable. His characters and direction still give the impression he's still putting on one of those gospel touring plays in War Memorial Auditorium.
Perry, who worked his way from homelessness into prosperity, on his terms, is a remarkable, inspirational success.
But I wish he would learn the value of subtlety.
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