Review of “Tyler Perry’s A Madea Family Funeral”

The 40th anniversary of Vianne and Anthony (Jen Harper and Derek Morgan) is a time for celebration and all their children are coming home to help them celebrate. Oldest son A.J. and his wife Carol (Courtney Burrell and KJ Smith) are hosting the party. Youngest son Jessie (Rome Flynn) and daughter Sylvia (Ciera Peyton) are on hand as well. A.J. and Carol are having problems in their marriage and A.J. is cheating on her with Jessie’s fiancé Gia (Aeriel Miranda). While A.J. and Gia are at a nearby motel, A.J. hears a familiar voice in the room next door. Barging in the door, A.J. finds his father Anthony in bed with Renee (Quin Walters), a family friend. Also showing up to see the sorted scene are Madea, Joe, Bryan (all played by Tyler Perry), Aunt Bam (Cassi Davis) and Hattie (Patrice Lovely). Anthony and Renee are having a S&M scene when Anthony has a heart attack and later dies at the hospital. The anniversary party is now a funeral being planned by Madea. With all the secrets threatening to pull the family apart, Madea and the rest of the older mourners are trying to lighten the mood and keep the emotional volcano from exploding.

“Tyler Perry’s A Madea Family Funeral” (which I’m choosing to shorten to “Family Funeral” for most future references) is my first experience with a Madea film. I thought since Perry announced this would be the final Madea movie I should check it out and I’m half glad I did. Half glad as this film is really two movies: One is the family drama of cheating and lies and love. The second is every scene Madea and all the older characters are in. One is significantly better than the other.

The melodrama that makes up the bulk of the film is awful. A bit of trivia posted on the movie’s IMDb page, and repeated on the film’s Wikipedia page, says it was shot in about a week. I couldn’t find any other sources to verify that, but the threadbare script and soap opera-style acting would imply there weren’t many takes wasted to make the movie. Most of the dialog involving the family at the center of the story consists of one of the following: “Are you alright?” “What’s wrong?” “My daddy just died!” While Tyler Perry’s movies have never been accused of being complex or subtle, it feels like he has just given up in “Family Funeral.”

Perry was busy on the film as he plays four characters, directs, produces and wrote the script. Maybe he has finally taken on too many jobs in his film as “Family Funeral” is a schizophrenic mess, jumping from dealing with loss and betrayal to ribald comedy fast enough to cause audience-wide whiplash.

Yet the audience I saw it with, comprised mainly of African-Americans, loved ever second of it. There were raucous laughs at the antics of Madea, Bam and Hattie (often covering up the next joke), disapproving comments about revelations of infidelity, and appreciative nods to the impressive gospel singers shown at the funeral. The about-half-full theater with whom I saw the film was hanging on every word, ready to laugh or cry, depending on which direction the story went.

Should you decide to see “Family Funeral,” I suggest viewing it with a sizable crowd. The experience will be heightened if you are surrounded by people willing to forgive the film’s flaws and enjoy the final ride with Madea.

The best part of the film is Madea and the rest of the incorrigible senior citizens. There’s talk of pimpin’ ho’s, smoking weed, killing husbands with anti-freeze, peeing every mile on a car trip, geriatric sexuality, expressing religious beliefs by misquoting the Bible, and jokes at the expense of a man with no legs and using a voice modulator after cancer surgery. The humor in “Family Funeral” also comes from all those that know the circumstances of Anthony’s death not being able to keep their mouth’s shut, yet none of the younger family members or his wife ever asks any follow up questions when Madea or the others say something that screams for it. It’s the kind of slapstick silliness that doesn’t get made by Hollywood movies anymore. I believe the reason for that is no one really knows how to do it anymore. Tyler Perry is a kind of throwback filmmaker. He knows his audience and plays to their tastes: Family drama and old people punching each other in the face. It’s a formula that has made Perry a very wealthy man (estimated net worth of $600-million). Few have homed in on the likes and wants of their fans the way Perry has, and it has served him, and his bank account, well.

“Tyler Perry’s A Madea Family Funeral” is rated PG-13 for crude sexual content, language, and drug references throughout. There is much discussion of the erection Anthony has that persists after death. There is also talk of him choking on a ball gag. Various characters make sexual comments throughout the film. No drugs are shown being used, but there is a great deal of discussion about cannabis and its use. Foul language is scattered, but the film does use it’s one ratings-allowed “F-bomb.”

As I write this, “Family Funeral” had a 25% on Rotten Tomatoes and a 41 on Metacritic. I can’t argue with either score as the film as a whole is not very good. Wooden acting, a repetitive script and leaden pacing all add up to this being a bad film. However, seeing Perry in Madea drag, and all the other elderly characters, say incredibly inappropriate things at the most inappropriate times redeems the movie for me. I may have to go back into the Madea catalog and check out her other adventures while fast-forwarding through the parts that are supposed to be telling the story. Madea is what we all see these films for. The rest is just filler to reach a feature film’s run time.

“Tyler Perry’s A Madea Family Funeral” gets three stars out of five.

There’s only one new movie opening this week.

Captain Marvel—

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Review of “Teenage Mutant Ninja Turtles: Out of the Shadows”

The four mutated turtle brothers Leonardo (Pete Ploszek), Donatello (Jeremy Howard), Michelangelo (Noel Fisher) and Raphael (Alan Ritchson) continue to fight crime in New York City from the shadows. After capturing Shredder (Brian Tee), the boys convinced TV cameraman Vern Fenwick (Will Arnett) to take the credit so the Turtles could remain a secret. Fenwick has let the attention go to his head. April O’Neil (Megan Fox) is keeping an eye on Dr. Baxter Stockman (Tyler Perry), a renowned scientist that April has discovered is going to help break Shredder out of police custody. One of the guards escorting Shredder is Casey Jones (Stephen Amell) who dreams of being a police detective one day. The Foot Clan attacks the convoy and the Turtles try to stop Shredder from escaping but Dr. Baxter has an alien teleportation device and whisks the criminal away. A couple of thugs calling themselves Bebop and Rocksteady (Gary Anthony Williams and Stephen “Sheamus” Farrelly) also escape by conventional means. Jones, embarrassed by the criminals escape, vows to catch them and prove his worth to Police Chief Rebecca Vincent. Shredder’s teleportation is intercepted by a creature from another dimension. Kraang (voiced by Brad Garrett) is a brain that lives in the midsection of a robot body. It seems Dr. Stockman’s teleportation device belongs to Kraang and is part of a trans-dimensional portal generator. Kraang makes a deal with Shredder: Find the other two pieces of the portal generator that are hidden on Earth and Kraang can bring a massive weapon called the technodrome to facilitate his and Shredder’s taking over the Earth. Shredder agrees and Kraang sends him back with a mutagenic chemical so Shredder can create soldiers that can defeat the Turtles. He recruits Bebop and Rocksteady and the chemical turns them into massive creatures that look like a warthog and a rhinoceros.

The plot synopsis (and I left out plenty) sounds ridiculous and it isn’t much better watching the whole story on screen. “Teenage Mutant Ninja Turtles: Out of the Shadows” is a silly mixture of CGI mayhem, poorly constructed story and enough mindless technobabble to try the patience of even the most forgiving sci-fi fan. In other words, it’s your typical Michael Bay movie.

Bay didn’t direct “Teenage Mutant Ninja Turtles: Out of the Shadows” but the producer’s bombastic stamp is all over the film. From the strange Day of the Dead-looking Halloween parade (is there such a thing in New York) to the frenetic action scenes that often are difficult to follow, director Dave Green, directing his second feature after “Earth to Echo,” apparently studied Bay’s style and decided to emulate it. While the film has a great deal of energy, thanks largely to the CGI characters and a brilliantly snarky Will Arnett, it doesn’t have much direction, jumping from scene to scene and location to location at a pace that can leave the audience dizzy.

The more complex action scenes also leave a lot to be desired as the more CGI elements there are on the screen, the more difficult it is to clearly see what’s going on and make out any detail. Much like the “Transformers” series of films, “Teenage Mutant Ninja Turtles: Out of the Shadows” is far easier to watch when the action is less crowded. That is most obvious in the final battle at the film’s much too long in coming end. As more and more bits and pieces are added, the Turtles and Kraang become less and less distinct.

These films are also not exactly showcases of great acting. From the wooden Megan Fox to the hyperactive Stephen Amell, none of the human characters are given much of anything to do that could make them stand out against the computer generated heroes and villains. If anyone gets the short end of the script stick it is Laura Linney in a role that appears to have been written by someone who just liked being mean to people for no good reason. Linney’s Rebecca Vincent is a ballbuster of the highest order. She runs roughshod over anyone and everyone for what seems like the hell of it. Perhaps this is some covert way to showing us how a woman in a traditionally male job has to be twice as tough and twice as good to be respected. Considering the rest of the film, I doubt the script would get that deep. This seems like a role that is supposed to straddle the line of good guy and bad guy but comes off as just plain bad.

“Teenage Mutant Ninja Turtles: Out of the Shadows” is rated PG-13 for sci-fi action violence. There are various weapons used throughout the film. Guns are fired but no one is shown getting shot. The Turtles fire manhole covers from a converted garbage truck in their first battle with the Foot Clan striking several bad guys who were probably very seriously injured or killed but that isn’t shown. Police cars are blown up. Two CGI characters are locked in a storage container and blown up with a hand grenade but they apparently survive largely unharmed. Foul language is widely scattered and very mild.

Out of curiosity, I looked back at my 2014 review of “Teenage Mutant Ninja Turtles” and had many of the same problems with that film as I have with this one. From the jumpy editing and muddy action to the two-dimensional human characters, it all seemed strangely familiar. With two similar films having two different directors, it almost makes me think Michael Bay may have more to do with these films than we know. Perhaps a hint was dropped about this when a cosplay Bumblebee showed up in the Halloween parade scene.

While this new film shares many weaknesses with the first movie, “Teenage Mutant Ninja Turtles: Out of the Shadows” does have some amazing CGI characters that interact with the real actors and the environment in a believable way. Hard core TMNT fans may find plenty to love in this movie but about the only thing I can find to praise is the animation. Otherwise, this movie is like a getting a pizza delivered cold with the wrong toppings…a disappointment.

“Teenage Mutant Ninja Turtles: Out of the Shadows” gets two stars out of five.

This week, there are two “2’s” and the big screen debut of a MMORPG. I’ll see and review at least one of the following:

The Conjuring 2—

Now You See Me 2—


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