Sorry, this movie sucks

A Masterpiece!

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Just watched this Tyler Perry/Madea movie with my mom. I thought with Eugene Levy-who I've long liked since his "SCTV" days-this might be a little more funnier considering I usually don't like Madea movies as they tend to be too preachy for my tastes. There were some really good stuff like almost anything involving Doris Roberts. I also liked Tom Arnold's brief appearance. Also, Madea's playing a woman named Precious Jackson got some good mileage out of the famous Jackson family. Otherwise, the movie was too long and was mostly pretty lame during that time. Still, it wasn't too bad like I said and besides, the movie was harmless enough. P.S. Perhaps because of Denise Richards' supporting role here, Charlie Sheen is in the blooper reel during the end credits. Oh, and I was sooooo disappointed at Marla Gibbs too-brief appearance.

You wouldn't have been remiss if initially chalking this one up to yet another done-to-death clichéd run-of-the-mill black church gets saved from the brink of disaster mediocre comedy, if not for the main theme of Madea's Witness Protection. Then the subplot of the church being in a pinch becomes less consequential to the larger premise, serving only to bring the storyline full circle.The culture clash angle provided by the unwanted house guests Madea's paid to house, who've outstayed their welcome and tried Madea's patience, gives it mainstream appeal beyond (director and star) Tyler Perry's core fan base. Loved for her wit and strong spiritedness equaled by her moral convictions, Madea embodies the archetypal matriarchal figure in many African-American families.More than mildly amusing, it's still no surprise that it ends on a similar note with their house of worship—a major pillar and staple in the black community—getting spared from impending doom, thanks to Madea's quick thinking intervention. Black churches are a natural point of reference, central focus and source of inspiration for screenwriters, novelists and playwrights of color. And Hollywood, or in Perry's case, Georgia (where his studio is located), loves a clean finish unless there's a planned sequel in the offing or a prequel, given the huge potential profitability of movie franchises. Feeding our pop culture obsession, his blatant referencing of Titanic, the Golden Girls, the View, the Bates Motel in Psycho, the Jacksons, Tyra Banks and Bernie Madoff, peppered throughout the dialogue, make the movie relatable. Madea steals an idea right out of Ghost, taking a cue from Whoopi Goldberg's character in the film. And having co-starred in "Bringing Down the House", Eugene Levy is no stranger to working in predominantly black casts. There's a real talent to being funny without being offensive. And Perry's Madea wonderfully manages a good balance, which doesn't offend even while making light of sensitive topics like racism, bi-racial heritage, class snobbery, divorce, step-parenting and serious timely issues including the Ponzi scheme and crimes against the elderly...all done flippantly for the best affect. But the message comes through.Perry works it all into this, one of his better comical adventures: a light-hearted cautionary tale played strictly for laughs.

I have not seen all of Tyler Perry's films, but I have seen most of them and this one was the worse I have seen by far. The story took forever to develop while I had to endure the terrible acting on the part of the guy from American Pie. Generally the acting in this film left a lot to be desired. Romeo for instance could not strike a balance between being too enthusiastic and being too relaxed. This movie was supposed to be a comedy but apart from Madea's wise cracks here and there, no one else was remotely funny. I got really annoyed at Madea's inability to understand certain words and her attempts at using a similar sounding word and trying to make a joke out of it. That method of humor was used and abused in this film and got pathetic after a while. I love Tyler Perry's dramatic films. They are touching, engaging and captivating but his comedies always seem to fall short just like house of Payne and meet the browns, two mediocre comedies that are just not funny. Please Tyler, get some creative minds for your comedies or stick to the drama.

I think most critics are too hard on Tyler Perry's films. Granted this wasn't the perfect film, but I still found more good than bad in it. There were some casting issues that have to be questioned. Do we really believe that someone that looks like Denise Richards would have the slightest interest in someone that looks like Eugene Levy? Madea was hilarious. Some folks have a problem because the character is based on ethnic stereotypes, but to me that is what makes the character funny, because she is an exaggeration of those stereotypes. It kind of reminds me of Blazing Saddles, which I didn't know until recently was co-written by Richard Pryor. Some folks just take themselves way too seriously.Madea putting the verbal smack-down on Cindy was great. I also like that they didn't load the film up with F-bombs like a large number of films these days do. The bit with Madea taking the bellboys $20 tip back, and giving him only 50 cents was a riot. The outtakes during the credits are even funnier than the movie.The drawbacks are that they do have some gags that are not funny. Eugene Levy plays pretty much the same character he always does. There is also a weird storyline between Madea's brother and the grandmother for the white family played by Doris Roberts, who sports her old Archie Bunker's Place hairdo in the film.