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Tyler Perry's Madea's Family Reunion
Reviewed By: Davita Westbrook
R-Rated (Language, Sexual Humor, Drug References and Domestic Violence)
2 of 4 Stars
Starring: Tyler Perry, Blair Underwood, Henry Simmons, Boris Kodjoe, Jenifer
Lewis
Directed by: Tyler Perry
Produced by: Michael Paseornek, Peter Block, Tyler Perry
Distributor: Lion's Gate Films
Mabel ‘Madea’ Simmons (Tyler Perry) returns as a pistol-packin’, no
nonsense Southern matriarch, who struggles both with her new role as court-
appointed foster mother to Nikki (Keke Palmer), and the various trials and
travails of assorted family members, all while trying to organize this year’s
family reunion.
The main story revolves around two sisters, Lisa (Rochelle Aytes) and
Vanessa (Lisa Arrendell Anderson) and their grasping, evil diva of a mother
Victoria, played with ferocious glee by the incomparable Lynn Whitfield.
Victoria clearly tries to live her own life through one daughter, while
mistreating the other. Lisa is engaged to Carlos (Blair Underwood), a
successful, but verbally and physically abusive lawyer, while Vanessa
tentatively explores a relationship with Frankie, a bus driver, (Boris Kodjoe),
and deals with her own issues around sexual abuse and single parenthood.
The stories culminate in two powerful scenes, the family reunion and a
spectacular wedding, where the values of love, forgiveness, redemption,
reconciliation, and family are all on full display.
Unfortunately, virtues of the film notwithstanding, the moral issues will give
new, and less-seasoned Christians considerable cause for concern. Mature
Christians will understand that we live in a world where everyone does not
proclaim Christ. Madea is not saved, she ‘s not claiming to be, but she is a
conduit for truth, through her love for her family and the many affirmations
and encouragement she passes on to her foster child.
Uncle Joe (also played by Tyler Perry) is no doubt supposed to be played for
comic relief, but this time out, as opposed to his appearance in Perry’s debut
effort Diary of a Mad Black Woman, the character is lewd, vulgar and
objectionable. He’s not funny; he’s crude. The potty humor, combined with a
potty mouth, are more than some Christians will be able to tolerate. A
particular scene with several old men, ogling a young female relative no less,
is particularly disturbing juxtaposed against Vanessa’s struggle to overcome
childhood sexual assault by a trusted family member.
Language is also be an issue. I lost count of the h***(s), and you can expect a
few d***(s), a couple of ‘illegitimate child’(s), and a couple of more ‘female
dogs’. Perry is famously anti-profanity, but skittish and sensitive viewers will
not appreciate the words that do appear, especially for pre-teen children, no
matter how authentic the language is to the characters.
Violence is relatively mild. Madea does not take her pistol from her purse
(although we all know it’s there); she’s mostly all bark and a little bite (ask the
boy on the bus). Oh, and I’m sure Nikki, the new foster child, would have
something to say about the spanking she receives after skipping school.
However, the violence that is depicted in the form of domestic abuse is
intense and disturbing. Blair Underwood gives the most nuanced, affecting
and true-to-life performance in the movie. Menacing, barely restrained
violence pulses beneath the surface of his urbane, sophisticated exterior; it is
palpable and disturbing. Carlos controls and intimidates Lisa, and her fear
becomes the audience’s fear. It is brilliantly captured and extremely terrifying.
The intensity of these scenes would be inappropriate for all but the most
mature teenagers. Be prepared to talk about it. The issue needs to be raised,
because too many live with the reality of domestic violence on a daily basis,
but know that the depiction is frighteningly real.
For the most part, the women are modestly (and beautifully) attired. At the
family reunion, the younger women dance suggestively and are realistically
shown wearing today’s inappropriate clothing. A number of bare-chested men
appeared evocatively and surprisingly throughout. Those with eye-gate
concerns: consider yourself warned.
On the positive side, Tyler Perry should be celebrated for his bold, and
courageous stand against premarital sex, violence, and hardcore language in
his films and plays. The film portrays Frankie and Vanessa’s budding
romantic relationship sweetly and innocently, and their respective children are
included in most of their interactions. Their one kiss is warm and brief. There
is one scene where they fall asleep in the same bed, their children
interspersed between them. Though some will no doubt be concerned with
the “appearance of evil” (1 Thessalonians 5:22), the scene is tender and
loving. Frankie and Vanessa unapologetically and firmly proclaim their
intention to save sex for marriage, an important and too seldom seen
message for teenagers and adults alike.
Of particular note are the brief but profound performances of Cicely Tyson,
who reprises her role as Madea’s sister-in-law Myrtle, and Maya Angelou, the
voices of wisdom and experience (Titus 2). At the reunion, the family gathers,
young and old, to listen to Myrtle exhort the younger generation of men and
women to “remember where they came from” and to treat each other with
love, dignity and respect, all under the loving gaze of 96-year old “Aunt Ruby.”
And finally the spectacular wedding scene provides a touching and dramatic
culmination of all the earlier drama. The scene will strain credulity, as does
most of the film, but you may forgive the sentimentality because of the raw,
heartwarming expressions of love. Perry knows his way around pretty words.
Fans of Orlando, from Diary, who famously says, “I carry you in my spirit. I
pray for you more than I pray for myself,” will not be disappointed.
From a moviemaking standpoint, there are numerous plot implausibilities, too-
tidy solutions to difficult problems, a healthy serving of melodrama and soap-
opera-like shenanigans. Brian (Tyler Perry) reappears from the first film, but
his wife Debra is explained away as being “in the kitchen” and daughter
Tiffany, who tutors Nikki, is never seen. While this may work in the play world,
the more sophisticated movie-going audience will be disappointed. We want
to see the characters we fell in love in the first film. Earlier trailers for the
movie showed Isaac (the underutilized Henry Simmons) and Brian having a
conversation where Isaac bemoans the fact that he never had a man in his
life to show him how to be a good husband and father. Brian responds by
saying, “we have to be a generation of men who changes that.” Inexplicably,
this clip must have ended up on the cutting room floor, along with a good bit
of the character and plot development. Another thirty minutes might have
afforded the story the time it needed to be fully drawn.
The challenge for filmmakers like Perry is realistically presenting the lives of
non-Christians and Christians alike, without offending the sensibilities of
either group. Striking that balance is an ongoing concern, and in my opinion,
Perry is to be applauded for taking a stand for righteousness. However, this
time out, the message of salvation (John 3:16, 2 Corinthians 5:17) is muted
against the backdrop of questionable language and behavior that will be
difficult for some to overlook. The first film was unabashedly about Jesus; in
this the film, the message is still there, but not as strongly framed. The Bible
says, if our message is hid, it’s hid to them who are lost (2 Corinthians 4:3).
Perry is lovingly telling the story of African American families with characters
that are flawed, human and recognizable, and he’s conveying a message of
hope that transcends the boundaries of culture, gender and age. He is
undaunted in his quest to keep his movies clean, and always with a Christian
theme and message. In this film, however, there are not enough positive
images to recommend it without extensive reservation. But because his
motive is agreeable with Scripture and his message is the gospel of salvation,
I will continue to pray for and support Tyler Perry, so he can persevere in
being a light in a dark place (Matthew 5:14-16).
Violence: Mild / Profanity: Moderate / Sex/Nudity: Minor
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