Tyler Perry Back in Lurid Form – Variety



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"A Madea Family Funeral" is Tyler Perry's eleventh film portraying Perry as Madea, the matriarch of the booming, breathing breath. In the film, therefore, it seems reasonable to assume that the funerals around which it unfolds could at this stage be Madea's. Is there anyone left to terrorize? Do not be scared: Madea is alive and well (although it seems like a mess at the limit to reveal that she's is not die). I'm happy to report that his group is still hitting – the trio of cowardly canons made up of geriatric parents who have become his reserve chorus in swearing infamy, though they've already seen more of A Perry movie, their voices across just as loud and overflowing as Madea.

There is Madea's brother, Joe, portrayed by Perry as a hot-haired white scarf with a horny spark that always speaks for itself as if it were a pimp (his word). There is Aunt Bam (Cassi Davis), with her tall blue hair, who thinks she's a primitive and decent lady but has a way of throwing up everything she's supposed to keep. And there is Hattie (Patrice Lovely), with her pinched glow and baby voice (she looks like a cross between a four-year-old and a mermaid), which makes others as sober as a church-church committee. Social. (If these three were the Marx brothers, Joe would be Groucho, Bam would be Chico and Hattie would be Harpo.)

Madea and her retired Greek choir have escaped with the kind of occasional blasphemy that few pop culture characters could have for the moment. (Joe does not just joke about physical and sexual abuse, he's for But just because it's scandalous does not mean that you do not care about their ricochet behavior. They are pipe to say these things – they do not murmur politeness or decorum that would never tempt them to hold back their thoughts. In their eyes, do not say what you think is boojie – that's what their descendants do, who have become too white for their own good.

As a filmmaker, Tyler Perry is their close spirit. It's the sophisticated string shooter who orchestrated all of this, but Madea, it's clear, is his identity, and the soap opera he stars in "A Madea Family Funeral" is Perry's own form. We could say that the film is almost schizophrenic. He divides himself between Madea's burlesque top-top and his henchmen who snatch his mouth, and a perfectly adulterous melodrama that, in his "serious" way, is just as crazy.

An extended clan of high-end parents meets for the birthday of Vianne (Jen Harper) and Anthony (Derek Morgan), who are like family kingship – only to discover, as naked as possible, that the celebration is a sham. When critics scoff at the vulgar opulence of Tyler Perry's opera, they talk about things like this: In a hotel room in Atlanta, AJ (Courtney Burrell), a sullen scoundrel, celebrates with the fiancee of his brother (Aeriél Miranda). Coincidentally, Anthony, half of the anniversary couple, is in the hotel room next door, where he just expired at an S & M appointment. As a result, his body, with a gag in the mouth, was discovered by Madea and her detachment.

You could ridicule the madness of this story, but here's the thing: Tyler Perry means he. He believes in the malignant flamboyance that he shows us as a tragedy of gutbucket. "A Madea family burial" is a raw dough, but a dough made with conviction – more conviction, I would say, than the one that Perry has shown in his last three or four films. Ribald comedy and therapeutic "tragedy" go hand in hand. It's the other side of the coin: a presentation on demons that can undermine people who fight back against oppressed options.

The hidden sexual drama paves its way to its only natural climax: the cathartic exhibition. But the joke is that Madea and her acolytes unveil secrets almost at every turn; they can not. But they are so eccentric that no one records what they say. Perry has added a new character to his old crank gallery: he also plays Heathrow's cousin, a legless wreck in a shrunken bang of Jheri Curls, who talks about brutally blunt erotic statements with a voice booster after a throat cancer that make it ring. like a depraved robot. And when Perry finally organizes the funeral, he spends a good time satirizing the endless rites of African-American grief; When Madea, the MC of the event, takes the pulpit and cuts a gospel singer as he pronounces a speech too long on the rewards, you know that the movie destroyed all piety. "A Madea Family Funeral" is not good, exactly, but it's Perry well. He combines an armed comedy and a sexualized soap opera to defuse all shame.

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