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Tyler Perry


Madea Halloween getting a sequel

Or is it like a 20-quel?
May 26
// Matthew Razak
Word from Deadline is that Boo! A Madea Halloween is getting a sequel called Boo 2! A Madea Halloween. That's probably the most awkward movie title ever, and may not even be factually correct since every Madea ...
Madea Trailer photo
Madea Trailer

First trailer for Madea's Tough Love

Oct 22
// Nick Valdez
Tyler Perry Presents Tyler Perry in Tyler Perry's Madea's Tough Love: Confessions of a Marriage Counselor.  (Madea's Tough Love releases on VOD January 20th next year.)

Review: Gone Girl

Oct 03 // Alec Kubas-Meyer
[embed]217611:41433:0[/embed] Gone GirlDirector: David FincherRelease Date: October 3, 2014Rating: R When Gillian Flynn was approached about adapting her novel, her agreement came with one major caveat: only if she could write it. Having that sort of leverage is a benefit to being the writer of The Big Thing. Suzanne Collins made the same request with The Hunger Games, though she co-wrote it with director Gary Ross. (She did not write the sequels.) This was Flynn's first time writing a screenplay, and she was lucky to be working with Fincher. I only realized recently that David Fincher's recent filmography consists entirely of adaptations. Everything he's done since Zodiac has been based on a book. I never thought much about it, because other than Dragon Tattoo I'd never read the source material before going in. More crucially, I never felt like I was missing something because of that. Each of the films simply seemed like amazing films, inspiration be damned. That's still true with Gone Girl, but his most recent outing feels more like its based on a novel than his previous adaptations. (Slight digression: There's a rant here about the 2010 Academy Awards. David Fincher is the reason The Social Network's screenplay won an Oscar. Period. End of story. The dialogue in Aaron Sorkin's script was excellent, sure, but the screenplay itself is lacking in every other department. It was Fincher's directorial brilliance that took the film beyond just great dialogue and into something truly fascinating. That he was shunned for Best Director that year is a travesty. That he was shunned in favor of Tom "I Tried My Hardest to Ruin Les Mis" Hooper is an insult to the medium.) Gone Girl tells the story of Amy Dunne (Rosamund Pike), who has disappeared under suspicious circumstances, and her husband Nick (Ben Affleck), who is trying to deal with the media blitz that follows. But a heavy focus on the possibly-deceased Amy's diary entries early on serve to make everything feel more written. The diary serves to flesh out a backstory for the couple, and while that's vital to the narrative (as is the fact that we hear Amy's voice speaking them), they sometimes felt less like a film and more like a book. (There's more to it than that, but explaining exactly why that's true would delve into heavy spoiler territory. In the coming days, we'll have something that gives it .) After the first act, it changes. All the film's mysteries are all solved by one exhaustive monologue. And only then did I realize that Gone Girl isn't a mystery but a thriller. The big question went from "What happened?" to "What's going to happen?" It's a jarring shift, and it makes Gone Girl feel longer than it is. At 150 minutes, it's definitely on the long side, but I never got bored watching it. But the shift felt like a theatrical act break, one to be followed by an intermission and discussion with other patrons. But I didn't get the break, and I became preoccupied by the change. That combined with the fact that I had literally no idea where the narrative was going (which is a good thing, by the way) meant the film seemed never-ending. But at the same time, Gone Girl feels like it could have been longer. The novel is 500 pages long, and Fincher said afterwards that there was enough material there to make three movies. (Though that was probably facetious, I'm glad he didn't go full Peter Jackson.) Even so, it wouldn't have surprised me to hear that there was a four hour cut of the film floating around.  And I'd watch that four hour cut. In two and a half hours, Gone Girl hits so many plot points and touches on so many fascinating stories that I wanted to see more of. There are a lot of places where the narrative could have been expanded. The narrative hits so many twists and turns that there's hardly room to really consider what's going on let alone soak the whole thing in. Though that isn't necessarily a bad thing. Despite feeling long, it's fast paced and feels complete, and aside from something pivotal involving security cameras, it feels logical and cohesive. But it still feels like there are gaps that could have been filled in. (Perhaps that is another reason why it feels like an adaptation.) But any complaints aside, this is still a David Fincher film, and that means it's a great film. Fincher is easily one of the best American directors working today, both in terms of technical ability and in his ability to pull great performances from actors. The standout in Gone Girl is Tyler Perry. When I saw his name on the cast list, I honestly thought it was a joke, but his his turn as Nick's lawyer is simply fantastic. (Everyone else is great as well, though that wasn't so surprising.) Having not read the source material, I can't say how Gone Girl will play to those who have. I do know that the third act was radically changed at Fincher's behest, but beyond that I don't know what plotlines have been altered or cut. I don't know if there's some favorite character out there who didn't make it from the page to the screen or some vital plot point that would clear up the camera thing I mentioned earlier. But it really shouldn't matter, because Gone Girl absolutely stands on its own. It may occasionally feel like a translation, but Gillian Flynn wrote one hell of a narrative, medium be damned.
Gone Girl Review photo
Baby, don't hurt me
Gone Girl is the book of the moment. Much as The Girl with the Dragon Tattoo was The Big Thing when David Fincher adapted it for US screens, Gillian Flynn's novel seems to be ubiquitous. Everyone is reading it and t...

Gone Girl Trailer 2 photo
Gone Girl Trailer 2

Trailer for Gone Girl features a murder she wrote

Tyler Perry's strangest Madea film yet
Jul 08
// Nick Valdez
I think this might be my favorite trailer of 2014 so far. Based on Gillian Flynn's novel of the same name (but Flynn claims the film will have a different ending) and directed by David Fincher, stars Ben Affleck as the prime...

2014 Razzies photo
2014 Razzies

Here are your 2014 Razzie winners and losers

Yup, because these matter too.
Mar 04
// Nick Valdez
The Academy Awards have come and gone, and while they were full of pleasant moments (the super selfie, the pizza, Lupita Nyong'o and Matthew McConaughey's speeches), the Razzies also happened but were full of not so pleasant ...
Tyler Perry, y'all photo
Tyler Perry, y'all

First trailer for Tyler Perry's A Madea Christmas

Tyler Perry Presents Tyler Perry's A Madea Christmas: Confessions of a Marriage Counselor
Oct 31
// Nick Valdez
I have a small confession to make. I've seen a few Madea flicks. While I don't particularly like Tyler Perry's side projects (like Tyler Perry Presents: Tyler Perry's Temptation: Confessions of a Marriage Tyler Perry) the pl...

Flixistentialism 15 - The Wonderful World of Tyler Perry

All y'all gon' get AIDS
Apr 18
// Andres Bolivar
On this week's episode of Flixistentialism, I spoil the madness that is Tyler Perry's Temptation: Confessions of a Marriage Counselor, I fall in love with just saying Tyler Perry's Temptation: Confessions of a Marriage Counselor, we talk Spike Lee's Old Boy remake and Nick tells us all about this thing called the MTV Movie Awards?

Review: Alex Cross

Oct 19 // Matthew Razak
[embed]213305:39006[/embed] Alex CrossDirector: Rob CohenRelease Date: Oct 19, 2012Rating:  PG-13 Alex Cross is based on the book Cross, which I will readily admit I have not read. In fact I haven't read any of the Cross books so if they're thing is being poorly written with bland characters, little emotion and plots that never amount to anything than this movie is one of the best adaptations I have ever seen. My guess, however, is that the books are at least somewhat enjoyable since people keep reading them, and in that case James Patterson needs to get a lawyer so he can sue for defamation. For those as in the dark about Cross (Perry) as I was, he is a Detroit detective (though in the books he's from D.C.) who also is a psychologist and has a Sherlock Holmes like ability to notice details. He and his partner Tommy Kane (Edward Burns) are put on the case of a tortured and killed socialite and get hot on the trail of psychotic killer Picasso (Matthew Fox). After foiling Picasso's next assassination attempt the psychopath turns his rage onto Cross threatening his family and his friends. It's up to Cross to figure out who he is and where his next strike will be before more people die. Of course more people do die, and in fact this could be an incredibly thrilling film if it wasn't handled without an ounce of delicacy. To begin with the film's direction is all over the place. Director Rob Cohen is better known for his over-the-top action and it's clear he has no idea what to do when he's got to present some actual emotions. Scenes are almost uncomfortable at points they're so poorly pieced together, and he somehow manages to make every interaction seemed forced. Cross's eventual outrage at Picasso seems ludicrously tame thanks to the fact Cohen can't make the two ever seem to truly clash, and the pacing of the film leads to a movie that doesn't feel like it has a beginning, middle or end. Things just sort of sit for two hours until someone dies at the end. It doesn't help that the screenplay is clunkier than a pair of winter boots. It's strange because the same screenwriter that adapted Along Came a Spider worked on this screenplay as well, but instead of a well constructed mystery we just get a gaggle of scenes that build to nothing. It doesn't help either the screenplay or the direction that the studio clearly forced a PG-13 on the film. For a movie about an extremely disturbed, psychopath who mutilates his victims and a police officer with some very serious emotional issues you need an R rating. Instead we're treated to mystifyingly bad murder scenes that pack no punch and a incredibly perturbed Alex Cross that is reduced to calling Picasso a maggot because he can't cuss on screen. I don't know what teenage audience they were trying to target by having the lesser rating because no teenager I know has been scrambling to see the next Alex Cross movie. Finally we get to the performances, which are around the same level as a community theater. There are actually some very solid actors in this movie and yet none of them seem to be able to get a convincing line out. Part of it is Cohen's direction, but it's also because they're acting against Perry who doesn't seem to be able to look interested in what he's doing at all. On the opposite side of that Matthew Fox has simply gone all out. Not only undergoing an insane physical transformation for the role, but pretty much jumping off the deep end in his portrayal. His acting is so ridiculous that you can't help but enjoy the absurdity of his insanity. It's the only highlight in the film, and it's only a highlight because the film is so bad. I hope to god this movie doesn't do well simply because Tyler Perry is in it. If audiences give films like this validation it means more movies will be made like it, and I'm just not sure I can take that. Alex Cross feels like the fan film some crazed James Patterson fan would cook up with no budget and no talent. It has no mystery, no depth and no joy. Make sure to Cross it off your list of movies to see (I've been waiting all review to say that).
Tyler Perry is not Morgan Freeman
James Patterson's literary detective/psychologist Alex Cross has had a decently successful life in films. Both Kiss the Girls and Along Came a Spider are competent thrillers handled with panache. Also...


Trailer: Alex Cross

Jun 26
// Andres Bolivar
I'm not much into "reading teh books", so naturally I know very little about this Alex Cross character. While I think I saw Kiss the Girls and Along Came A Spider (really, who could remember those forgettable&...

Trailer: Good Deeds

Dec 15
// Liz Rugg
In Good Deeds, Tyler Perry stars as Wesley Deeds (yep) a wealthy businessman who is starting to contemplate if there might be more to life than having more money than most people can dream of, a beautiful, clean home, and a ...

Tyler Perry steals a good role from a talented actor

Feb 01
// Alex Katz
Tyler Perry has been cast as Alex Cross in I, Alex Cross. Cross, for those of you unfamiliar with the character, is a forensic psychologist in the mysteries of James Patterson. Mysteries will be solved, and such. Now, it...

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