Tyler Perry returns as America’s favorite brash, no-holds-barred grandma in Lionsgate’s ‘Tyler Perry’s Madea’s Witness Protection’, an outrageous culture clash comedy that also stars Eugene Levy, Denise Richards and Doris Roberts.

For years, George Needleman (Levy), the gentle CFO of a Wall Street investment bank, has been living with his head in the clouds. His frustrated second wife, Kate (Richards), has reached her limit taking care of his senile mother, Barbara (Roberts). His teenage daughter, Cindy (Danielle Campbell), is spoiled beyond hope and his seven-year-old son, Howie (Devan Leos), wishes his father were around more. But George is finally forced to wake up when he learns that his firm, Lockwise Industries, has been operating a mob-backed Ponzi scheme – and that he’s been set up as the fall guy.

Facing criminal charges and death threats from the mob, George and his entire family are put under witness protection in the safest place that Brian (Perry), a federal prosecutor from Atlanta, can think of…

His Aunt Madea’s house down South.

As a result, Madea and her live-in brother, Uncle Joe (Perry), find themselves managing a completely dysfunctional family from Connecticut. But as George tries to solve the mystery behind Lockwise’s finances, Madea whips the Needlemans into shape using her hilarious brand of tough love. And together, they realize they just might have what it takes to unite George’s family, outsmart the mob and change everyone’s lives for the better.

Featuring Perry’s trademark blend of raucous comedy and emotional uplift, ‘Tyler Perry’s Madea’s Witness Protection’ is written and directed by Perry, and produced by Perry, Ozzie Areu and Paul Hall. The film also stars Romeo Miller, Tom Arnold, John Amos and Marla Gibbs.

But the buck does not stop there as Tyler Perry’s 24th Street Films is behind another of next year’s family-gone-wrong comedies. Wade Walker is eager to propose to his girlfriend, Grace Peeples. But after a year of living together, the beautiful, successful Grace is still cagey about introducing average guy Wade to her ambitious, upper crust family. So when Grace leaves for an annual reunion at her parents’ swanky Sag Harbor compound, Wade decides to crash the gathering, charm his soon-to-be in-laws and slip a ring on Grace’s finger.

However Wade’s plans go hilariously awry when he meets the high-powered, seemingly picture-perfect family who’ll do whatever it takes to keep up appearances. Wade soon finds himself caught in a web of white lies and comic dysfunction, and realizes that his only hope of ever marrying Grace means a take-no-prisoners face-off with Judge Peeples, Grace’s disapproving dad who won’t accept anything less than the very best for his favorite daughter.

A laugh-out-loud comedy about the lies that bind, Lionsgate’s and Tyler Perry’s 34th Street Films ‘We the Peeples’ stars Craig Robinson (“The Office,” ‘Hot Tub Time Machine’), Kerry Washington (‘I Think I Love My Wife’, ‘Lakeview Terrace’), David Alan Grier (“Chocolate News,” “My Wife and Kids”), S. Epatha Merkerson (“Law and Order”), Diahann Carol and Melvin Van Peebles. ‘We the Peeples’ is written and directed by Tina Gordon Chism.

Image Courtesy of    Madea’s Witness Protection

The article Tyler Perry and this Year’s Family-Gone-Wrong Comedies appeared first on The Toonari Post - News, Powered by the People!.

Tyler Perry’s newest feel-good flick, ‘Good Deeds’, arrived in theaters February 24, 2012 and took the number two spot behind ‘Act of Valor’ with a weekend gross of $15 million: his second lowest opening gross. These numbers beg the question of if the audience is growing tired of Tyler Perry or if it is simply a result of the slow movie season.

‘Good Deeds’ tells the story of a wealthy entrepreneur named Wesley Deeds (Tyler Perry) and the complicated relationships in his life from his family to his romantic interests. It is the tenth film which Perry has directed, written, and starred in. However, like several other films, it is not in the Madea continuity, which might explain its less-than-stellar opening as the Madea flicks tend to be more widely seen.

To date, Perry’s highest grossing film is ‘Madea Goes to Jail’ (2009), which, like the films before it, starred many well-known actors and had a modest budget that helped put him at the top of Forbes’ list of Highest Paid Man in Entertainment in 2011. However, it is because of his Madea-centric films that Perry is such a polarizing figure. He seems to have a reputation for being either loved or hated.

The main issue with Perry is that while his films are funny and heartwarming, they are also incredibly formulaic. His critics often note how nearly every film after his first, ‘Diary of a Mad Black Woman’ (2005), is a replica of a basic storyline. There is always a down-on-his/her-luck protagonist who reconnects with family members, finds a new love interest, and reaffirms his/her faith with God by the end of the movie. His films rarely vary from this formula and when they do, his fans will often pass if his infamous character Madea does not make an appearance.

For instance, consider ‘The Family That Preys’ (2008), which I consider to be one of two arguably good Tyler Perry films. ‘Preys’ does not adopt the typical Tyler Perry format of a struggling black protagonist who just needs God and a shiny new love interest to overcome. The story is about two families—one black and one white—that have a history together of money, lust, selfishness, greed, and friendship.

The film is notable for having white characters, which is rare in Perry’s movies, and for portraying both good and evil in all of the characters. There are stand out performances from the entire cast, but especially Sanaa Lathan, Alfie Woodard, and Kathy Bates. However, ‘Preys’ opened at $17 million and managed to make $37 million before leaving the theaters for good: Perry’s least grossing films behind the abominable ‘Daddy’s Little Girls’ (2007).

Perry’s films are praised by his fans for putting a spotlight on the often-overlooked issues in the African American community, but perhaps this is part of the problem.

These audiences are looking for the same thing over and over again—big laughs from Madea and an easy to swallow message—so when Perry ventures outside of the norm with movies like ‘The Family That Preys’ or ‘Good Deeds’, fans do not feel the same compulsion to watch. What does this mean? Either Perry needs to stick to what his followers want — or should he move out of his comfort zone more often?

‘Good Deeds’ is still a young film and may have some momentum in the coming weeks, but as it stands, it may be the start of Perry’s downfall. He is certainly an intelligent, experienced filmmaker but the unpredictability of audiences cannot always be overcome by giving them the same thing they are used to.

It is often when directors take big risks that the pay off is excellent. With any luck, Perry will consider this in the future and impress both his fans and his critics with something new.

The article Are Tyler Perry’s Films Not ‘Good’ Enough? An Analysis appeared first on The Toonari Post - News, Powered by the People!.