Madea's Family Reunion
—1. Overview
—2. Cast and Crew
—3. Photo Pages
—4. Trailers, Clips, DVDs, Books, Soundtrack
—5. Posters (Comedies)
—6. Production Notes (pdf)
—7. Spiritual Connections
—8. Presentation Downloads
(Spoilers Included Throughout This Review)
When Spike Lee burst onto the scene in the late 1980’s with his classic films that opened the eyes of the world to the modern day African-American experience, his mantra was “Uplift The Race.� His success opened the door for a host of other African American artists to enter the gates of Hollywood in search of similar successes. We’ve seen flashes of brilliance, shades of mediocrity, and, most frequently in African American cinema, a dismal—and seemingly endless —fascination with the negative aspects of African American life. Between all the “Soul Planes,� “Booty Calls,� “Get Riches,� and “Menaces 2 Society,� it seemed as if there would never be another film that sought to fulfill the wishes of Spike Lee’s mantra.
Then in February 2004, out of nowhere, Tyler Perry shook up Hollywood with the film version of his play Diary of a Mad Black Woman, which introduced mainstream audiences to his role as the unforgettable Madea. Loved by many audiences and loathed by many film critics, this pistol packing, noise-talking grandmother became a household name, leaving audiences on pins and needles waiting for her next adventure. 1 year later, she’s baa-aack!!!
Usually when a film is not screened in advance for critics—as is the case with Tyler Perry’s Madea’s Family Reunion, that’s a tell-tale sign that the flick is a train wreck waiting to happen. Happily, that is not the case for this film. Madea’s Family Reunion transcends leaps and bounds above Diary. Taking the director’s chair for the first time, Perry delivers a film that is hilarious, romantic, intense and deeply profound.
Against the backdrop of the aforementioned family reunion in the title, we follow three different plot threads in this film. Lisa (Rochelle Aytes), Madea’s niece, is preparing to wed corporate hot shot Carlos (Blair Underwood—playing against his nice guy type with shockingly convincing results). Hidden beneath the glossy and polished exterior of their relationship is the ugly truth of domestic abuse—shown in all its horror on screen—suffered by Lisa at the hands of her fiancé. Lisa’s half sister Vanessa (Lisa Arrindell Anderson), a single mom of two and living under Madea’s roof, unexpectedly finds love knocking on her doorstep… or, in her case, waiting for her at the bus stop. Bus driver Frankie (Boris Kodjoe) has held a torch for Vanessa for a while and pursues her with enough charm and grace to make the women in the audience swoon. And swoon they did in the scene where Vanessa accuses him of only wanting her for one thing just like all the other men out there. Frankie’s response: “I came to restore.� Let the swooning commence!
Meanwhile, our favorite sassy granny unexpectedly finds herself the (unwilling) foster mother of twelve-year-old Nikki (Keke Palmer), a streetwise brat in need of attention, TLC, and a few swats from Madea’s belt for ditching school. As the film progresses, Madea’s acts of love and words of wisdom transform young Nikki from a “problem child� to a proud young girl who gets B’s in Algebra—or, as Madea hilariously calls it, “Al Jarreau� (yep, she pronounces it just like the singer’s name)!
Getting back to the domestic abuse plotline of the story, we discover that the person who’d seem most likely to pull Lisa out of that horrific situation instead is coercing her to proceed with this future marriage from hell. Lisa and Vanessa’s mother Victoria (Lynn Whitfield—in full-blown “All My Children� mode) delivers such “motherly� words of wisdom including blaming Lisa for the abuse that she’s suffered, accusing Vanessa of trying to sabotage the relationship between her and Lisa, and, in a stunning admission, justifying horrendous acts of abuse against Vanessa for selfish financial reasons.
The tension between Victoria and her two daughters reaches a boiling point as the family reunion takes shape. Lisa is confronted about her wedding plans by two of the matriarchs of the family, Aunt May and Aunt Myrtle (Maya Angelou & Cicely Tyson). They are able to capture Lisa’s true feelings about her upcoming marriage just by simply reading the look in her eyes. Later on, in a scene that is destined to become legendary in the annals of African-American cinema, Aunt Myrtle vividly and powerfully encourages her family to “take their place� in the seat of dignity and honor that has been fought for and died for by their ancestors during slavery and beyond. It’s evident in this powerful scene that Aunt Myrtle isn’t just talking to her on-screen kinsmen; she’s talking to her African-American kinsmen beyond the screen. Her words of encouragement literally bounced off the surround sound speakers and into the hearts of the audience. I saw lots of Kleenex being dabbed around folks’ eyes when she was done… especially my own eyes.
Mainstream film critics, once they finally see the film, will undoubtedly belittle the film because of its simplicity (they use the term “pedestrian filmmaking� to describe this) and multiple plot lines. Honestly, the film is part sitcom, part soap opera, part movie-of-the-week, part history lesson, part revival meeting. But, to be even more honest, this film is critic-proof. Perry knows who his real critics are: the African-American community—specifically, the African American church-going community. In this film Perry makes a bold statement to his audience and leaves no stone unturned. He is truly their kinsman, dedicated to uplifting his race. His directing skills may not be as polished as the other big Hollywood directors (MovieMaking Commandment #3: NEVER let a boom mike appear in the midst of your shot!), but the audience couldn’t care less as Perry willfully points his camera directly at their heartstrings for two hours.
Although African-Americans are clearly the target audience of this film, the film’s universal themes are able to resonate with audiences regardless of their race, creed or color. Victims of domestic abuse will definitely identify with the film. Hopefully the message of this story will encourage and enable those suffering though such abuse in their own lives to get help and support for themselves. In addition, those who have survived sexual abuse as a child or teenager will undoubtedly relate to Vanessa’s struggle to fully and completely open her heart to the prospect of true love. Lastly, those who find themselves in conflict with their parents—particularly their mothers—as a result of unresolved hurt and pain throughout their lives may find themselves connecting to the heart of the story as well.
As I look at Hollywood’s (and America’s) bewilderment and shock at Tyler Perry’s success, the words of 1 Corinthians 1: 27 – 28 come to mind: "But God chose the foolish things of the world to shame the wise; God chose the weak things of the world to shame the strong. He chose the lowly things of this world and the despised things—and the things that are not—to nullify the things that are…" Tyler Perry tried to follow the rules and utilize the Hollywood system to try to get this film and his previous film produced to no avail. One studio executive suggested that African-Americans don’t even go to the movies ($80 million bucks—and counting—later, that exec must be eating some serious crow right now!). But God through Jesus Christ—Whom are willfully and boldly incorporated into Perry’s work—used the foolishness of a African-American man with a very small film budget, a very simplistic theme of forgiveness and redemption (that some critics find is too preachy), and a gun-toting, in-your-face, drop-dead hilarious grandmother to shame the “wisdom� of the Hollywood system… TWICE! Face the facts, Mr. Movie Executive: Tyler Perry is here and there’s nothing you can do about it!
Madea’s Family Reunion—simple as it is—is a great, wonderful, and necessary film! Hilarious, intense and uplifting, it packs more soul and power than most films created within the Hollywood system. Like a good plate of soul food, the film sticks to your ribs as you leave the theatre with a huge smile on your face! I can’t wait to see it again either in the theatre or on DVD!
And don’t forget to stay through the closing credits!
PLEASE KEEP ALL COMMENTS DIRECTED TOWARDS THE FILM. COMMENTS THAT DO NOT PERTAIN TO THE FILM OR THIS REVIEW WILL BE DELETED.
—1. Overview
—2. Cast and Crew
—3. Photo Pages
—4. Trailers, Clips, DVDs, Books, Soundtrack
—5. Posters (Comedies)
—6. Production Notes (pdf)
—7. Spiritual Connections
—8. Presentation Downloads
(Spoilers Included Throughout This Review)
When Spike Lee burst onto the scene in the late 1980’s with his classic films that opened the eyes of the world to the modern day African-American experience, his mantra was “Uplift The Race.� His success opened the door for a host of other African American artists to enter the gates of Hollywood in search of similar successes. We’ve seen flashes of brilliance, shades of mediocrity, and, most frequently in African American cinema, a dismal—and seemingly endless —fascination with the negative aspects of African American life. Between all the “Soul Planes,� “Booty Calls,� “Get Riches,� and “Menaces 2 Society,� it seemed as if there would never be another film that sought to fulfill the wishes of Spike Lee’s mantra.Then in February 2004, out of nowhere, Tyler Perry shook up Hollywood with the film version of his play Diary of a Mad Black Woman, which introduced mainstream audiences to his role as the unforgettable Madea. Loved by many audiences and loathed by many film critics, this pistol packing, noise-talking grandmother became a household name, leaving audiences on pins and needles waiting for her next adventure. 1 year later, she’s baa-aack!!!
Usually when a film is not screened in advance for critics—as is the case with Tyler Perry’s Madea’s Family Reunion, that’s a tell-tale sign that the flick is a train wreck waiting to happen. Happily, that is not the case for this film. Madea’s Family Reunion transcends leaps and bounds above Diary. Taking the director’s chair for the first time, Perry delivers a film that is hilarious, romantic, intense and deeply profound.Against the backdrop of the aforementioned family reunion in the title, we follow three different plot threads in this film. Lisa (Rochelle Aytes), Madea’s niece, is preparing to wed corporate hot shot Carlos (Blair Underwood—playing against his nice guy type with shockingly convincing results). Hidden beneath the glossy and polished exterior of their relationship is the ugly truth of domestic abuse—shown in all its horror on screen—suffered by Lisa at the hands of her fiancé. Lisa’s half sister Vanessa (Lisa Arrindell Anderson), a single mom of two and living under Madea’s roof, unexpectedly finds love knocking on her doorstep… or, in her case, waiting for her at the bus stop. Bus driver Frankie (Boris Kodjoe) has held a torch for Vanessa for a while and pursues her with enough charm and grace to make the women in the audience swoon. And swoon they did in the scene where Vanessa accuses him of only wanting her for one thing just like all the other men out there. Frankie’s response: “I came to restore.� Let the swooning commence!
Meanwhile, our favorite sassy granny unexpectedly finds herself the (unwilling) foster mother of twelve-year-old Nikki (Keke Palmer), a streetwise brat in need of attention, TLC, and a few swats from Madea’s belt for ditching school. As the film progresses, Madea’s acts of love and words of wisdom transform young Nikki from a “problem child� to a proud young girl who gets B’s in Algebra—or, as Madea hilariously calls it, “Al Jarreau� (yep, she pronounces it just like the singer’s name)!
Getting back to the domestic abuse plotline of the story, we discover that the person who’d seem most likely to pull Lisa out of that horrific situation instead is coercing her to proceed with this future marriage from hell. Lisa and Vanessa’s mother Victoria (Lynn Whitfield—in full-blown “All My Children� mode) delivers such “motherly� words of wisdom including blaming Lisa for the abuse that she’s suffered, accusing Vanessa of trying to sabotage the relationship between her and Lisa, and, in a stunning admission, justifying horrendous acts of abuse against Vanessa for selfish financial reasons.
The tension between Victoria and her two daughters reaches a boiling point as the family reunion takes shape. Lisa is confronted about her wedding plans by two of the matriarchs of the family, Aunt May and Aunt Myrtle (Maya Angelou & Cicely Tyson). They are able to capture Lisa’s true feelings about her upcoming marriage just by simply reading the look in her eyes. Later on, in a scene that is destined to become legendary in the annals of African-American cinema, Aunt Myrtle vividly and powerfully encourages her family to “take their place� in the seat of dignity and honor that has been fought for and died for by their ancestors during slavery and beyond. It’s evident in this powerful scene that Aunt Myrtle isn’t just talking to her on-screen kinsmen; she’s talking to her African-American kinsmen beyond the screen. Her words of encouragement literally bounced off the surround sound speakers and into the hearts of the audience. I saw lots of Kleenex being dabbed around folks’ eyes when she was done… especially my own eyes.
Mainstream film critics, once they finally see the film, will undoubtedly belittle the film because of its simplicity (they use the term “pedestrian filmmaking� to describe this) and multiple plot lines. Honestly, the film is part sitcom, part soap opera, part movie-of-the-week, part history lesson, part revival meeting. But, to be even more honest, this film is critic-proof. Perry knows who his real critics are: the African-American community—specifically, the African American church-going community. In this film Perry makes a bold statement to his audience and leaves no stone unturned. He is truly their kinsman, dedicated to uplifting his race. His directing skills may not be as polished as the other big Hollywood directors (MovieMaking Commandment #3: NEVER let a boom mike appear in the midst of your shot!), but the audience couldn’t care less as Perry willfully points his camera directly at their heartstrings for two hours.
Although African-Americans are clearly the target audience of this film, the film’s universal themes are able to resonate with audiences regardless of their race, creed or color. Victims of domestic abuse will definitely identify with the film. Hopefully the message of this story will encourage and enable those suffering though such abuse in their own lives to get help and support for themselves. In addition, those who have survived sexual abuse as a child or teenager will undoubtedly relate to Vanessa’s struggle to fully and completely open her heart to the prospect of true love. Lastly, those who find themselves in conflict with their parents—particularly their mothers—as a result of unresolved hurt and pain throughout their lives may find themselves connecting to the heart of the story as well.
As I look at Hollywood’s (and America’s) bewilderment and shock at Tyler Perry’s success, the words of 1 Corinthians 1: 27 – 28 come to mind: "But God chose the foolish things of the world to shame the wise; God chose the weak things of the world to shame the strong. He chose the lowly things of this world and the despised things—and the things that are not—to nullify the things that are…" Tyler Perry tried to follow the rules and utilize the Hollywood system to try to get this film and his previous film produced to no avail. One studio executive suggested that African-Americans don’t even go to the movies ($80 million bucks—and counting—later, that exec must be eating some serious crow right now!). But God through Jesus Christ—Whom are willfully and boldly incorporated into Perry’s work—used the foolishness of a African-American man with a very small film budget, a very simplistic theme of forgiveness and redemption (that some critics find is too preachy), and a gun-toting, in-your-face, drop-dead hilarious grandmother to shame the “wisdom� of the Hollywood system… TWICE! Face the facts, Mr. Movie Executive: Tyler Perry is here and there’s nothing you can do about it!
Madea’s Family Reunion—simple as it is—is a great, wonderful, and necessary film! Hilarious, intense and uplifting, it packs more soul and power than most films created within the Hollywood system. Like a good plate of soul food, the film sticks to your ribs as you leave the theatre with a huge smile on your face! I can’t wait to see it again either in the theatre or on DVD!
And don’t forget to stay through the closing credits!
PLEASE KEEP ALL COMMENTS DIRECTED TOWARDS THE FILM. COMMENTS THAT DO NOT PERTAIN TO THE FILM OR THIS REVIEW WILL BE DELETED.
—1. Overview
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