Good Deeds

Directed by Tyler Perry.

2012. Rated PG-13, 110 minutes.
Cast:
Tyler Perry
Thandie Newton
Gabrielle Union
Brian White
Phylicia Rashad
Eddie Cibrian
Jordenn Thompson
Beverly Johnson
Rebecca Romijn
Jamie Kennedy

Life is perfect for Wesley Deeds (Perry), or so it seems. He’s the CEO of a very successful company, drives a Porsche and is the apple of his mother’s eye. He’s also engaged to the beautiful Natalie (Union). The only hiccups are he works long hours and his brother Walter (White) is a jerk, feeling slighted by their deceased father who willed Wesley the company’s top spot. For Lindsey (Newton), things aren’t going quite so well. She’s the single mom of a six year old girl. Early on, they get evicted from their apartment. She can’t afford to pay rent because the IRS is garnishing her wages. With no other options, Lindsey and her daughter sleep in their car. That is, they sleep there after mom’s shift as a night janitor. Why yes, silly, she works for Wesley’s company. And yes, she finds herself cleaning his office while he’s there working late. If you don’t know where this is going you should crawl out from under your rock every once in a while.

In what’s become a pattern for writer, director and, in this case, leading man Tyler Perry, in between Madea movies he doesn’t go for laughs. It’s a welcome development, a much needed reprieve for those of us who’ve grown to despise the loud-mouthed, pistol-packin’ grandma. People who love her tend to also love anything Perry does so no problems on that front, either. Both sides might be pleasantly surprised that this is just a plain ol’ fashioned boy meets girl. As such, Good Deeds plays it totally straight. There are no extraneous buffoons hanging around nor a collection of outwardly evil men to get us all riled up. For the most part, this film is populated by “just” people.

As a romance, Good Deeds is a lukewarm affair. It plays things safe to the point of unrelenting predictability. The irony is that Wesley's fiancee spends much of the movie lamenting him for the same thing, being bland with all the spontaneity of clockwork. For both the movie and the character, our leading man is much the blame. One of Perry's great strengths is getting strong performances from his cast. However, the one actor he has the most trouble with is himself. As Madea, or anyone which requires him to physically disappear into them as much as possible, he's a bundle of hyperkinetic energy. With his own face in plain view he's exceedingly bland. His Wesley Deeds is no exception. Unfortunately, this means he doesn't generate any sparks with either Union or Newton. It doesn't help that the character is written as an impossibly good person. There is no edge to him whatsoever. His inevitable break-up is of the most cordial kind imaginable. Even his one "rebellious" fantasy is Mother Teresa-esque.

The movie is at its most passionate when it turns its eye toward the subplot of Walter being mad at the world, including his own mother played by a steely-eyed Phylicia Rashad. Too bad these are both completely one dimensional characters with a story that goes nowhere. However, they do provide us with plenty of melodramatic fireworks whenever they share a scene. White's is an angry, guttural performance of material that doesn't allow him to be anything more.

Whenever our focus is on Mr. Deeds (yes, I'm fully aware of what I did, there) and the triangle that forms around him, we simply barrel downhill until we reach the inevitable conclusion. It does so in a mostly unremarkable fashion that makes this hard to love, or hate. There are some touching scenes involving Wesley, Lindsey and her daughter Ariel (Thompson). There are some horrible scenes and transitions where things just happen too easily. However, the bulk of it is merely average.

MY SCORE: 5/10

For Colored Girls

Directed by Tyler Perry.
2010. Rated R, 133 minutes.
Cast:
Kimberly Elise
Loretta Devine
Thandie Newton
Janet Jackson
Anika Noni Rose
Kerry Washington
Phylicia Rashad
Whoopi Goldberg
Michael Ealy
Omari Hardwick
Hill Harper
Macy Gray

Three troubled women live next to one another in a walk-up apartment building. Crystal (Elise) has a live-in baby daddy who is just home from “the war." Apparently suffering from severe PTSD, he drinks all day long and slaps her and the kids around. Tangie (Newton) literally brings a different man home every night from the bar she works in, has a religious fanatic mom (Goldberg) who pops up from time to time demanding money, and a little sister she can’t stand. Gilda (Rashad) is the least troubled, but tries her best to help the younger ladies and doesn’t seem to be having much success.

Very quickly, we meet some more ladies with problems. There’s Jo (Jackson), a magazine tycoon who is suffering through a bad marriage and some sort of health problem. If you’ve paid any attention to Tyler Perry’s previous work, you should figure out what’s wrong with her in about ten minutes. Kelly (Washington) is a social worker married to a cop and has a health issue of her own. Juanita (Devine) has a part-time boyfriend who moves in and out of her apartment at will, or more accurately, at the whim of his other woman. Then there’s Yasmine (Rose), the local dance teacher. She appears to be worry free. How long do you think that will last?

The ladies struggle with their issues and often have heart-wrenching moments. These moments will lead to many to hail it as Perry’s crowning achievement, artistically. That really isn’t saying much, but the point is taken. The director takes a more adult approach to his material and actually goes straight for drama. The bit of humor that is sprinkled in is much more derived from the human condition than his usual over the top slapstick. The overzealous attempts at comedy present in his other films never show up here. There are no buffoons in loud clothing, no old people smoking weed and thankfully no signs of Perry in drag. What we’re left with are these women and their pain.

Their pain drives the movie. It’s the crutch Perry leans on, rather effectively I might add. This part is easy for him because he’s always had two things going for him. First, he knows his target audience. It is no secret that target is African-American females. He has a good feel for what moves them emotionally and how to concoct just the right amount of melodrama to rile enough of them up. Second, he always elicits strong work from his cast. Across the board, the performances are fantastic.

In For Colored Girls, Perry is a skilled illusionist. As one powerfully acted scene after another depicts painful occurrences he knows many in his audience relate to, all too well, the illusion is we’re watching a great movie. The fact is all these wonderful scenes don’t quite gel into a cohesive unit. They’re short snippets of people, mostly women, pouring their hearts out quite literally through their tear ducts. Yes, there is lots of crying. The actors eagerly and earnestly attack their lines, leaving us and them exhausted from the effort. Unfortunately, the story the scenes combine to tell is predictable and uninspired man-bashing. Far in advance, we can see what’s coming. This stems from something the Tyler Perry canon is plagued by. It seems that in his world, Black men who aren’t the embodiment of pure evil are a rare commodity, except for the clowns of his other movies, of course. What happens is the scenes eventually devolve into a string of tragedies with hardly enough triumph to notice. To help us with this as much as possible, Perry eschews his normal all curing trip to church with another chick-flick cliché remedy, the group hug. Seriously.

As much formula is evident, there is some serious ambition with regards to dialogue. The first thing is the free-flowing of four, seven and twelve letter words that earn ‘R’ ratings. For most, this is not a big deal in any way. For Perry, it runs the serious risk of alienating his most ardent fans. Within the rather large and diverse population of Black women, the seemingly unshakeable core of his audience is those who regularly attend church. His work is seen as religious, with a secular slant. This brazenly flips the agenda.

The other risk is with how much he incorporates the source material. For those that don’t know, FCG is based on the play “For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf.” Written by Ntozake Shange, it’s really a collection of poems centered around several characters. It had a pretty decent run onstage in the mid-seventies, even being nominated for the “Best Play” Tony and winning a number of other awards. I was intrigued going in because even though I’ve never seen the play, I have read it. Though that’s been long enough ago to forget most of it, I was curious to see how it could translate to the big screen. It’s a wonderful piece of writing that anyone interested in poetry should give a chance. Indeed, large chunks of Shange’s work are directly inserted into the screenplay. Characters talk normally, then suddenly break out in verse. Occasionally, this works to perfection as in the scene in which we’re treated to a cameo by Macy Gray. Its perfect mix of persona and content provides us with a truly frightening two minutes. Other times, this tactic feels a bit off, or just plain odd. Still, I give him kudos for trying.

FCG is a most difficult movie for me to gauge. So much of it works, I’m tempted to join the ranks of those who swear by it. However, just as much doesn’t work. It reminds me I am a member of the “Tyler Perry Must Be Stopped” club. Approach this with guarded optimism.

2012

Directed by Roland Emmerich.
2009. Rated PG-13, 158 minutes.
Cast:
John Cusack
Amanda Peet
Chiwetel Ejiofor
Thandie Newton
Oliver Platt
Danny Glover
Woody Harrelson
Liam James
Morgan Lily
Zlatko Buric

Plot: A geologist discovers an increase in solar activity that will lead to the end of the world as we know it, socio-political Darwinism ensues. Oh, and dying – lots of dying.

The Good: Forget about Avatar, this might be the most beautiful movie of 2009. The end of the world is a truly spectacular sight. There are skyscrapers crashing into one another as they fall, multi-tier freeways collapsing, entire cities and their suburbs coming apart at the seams as the earth separates beneath them. Likewise for areas surrounding suddenly activated, fireball hurling volcanoes. And if you’re anywhere near any coast, or out to sea, you have to contend with super tsunamis. For the most part, it looks eerily realistic. Since another depiction of hell breaking loose is never more than a few minutes away, it’s lengthy runtime doesn’t feel so bad.

The Bad: This might also be the most disgusting, pointless and stupidest movie of the 2009. It’s disgusting in the sense that it is purely pornographic in regards to death. We literally watch people die by the thousands for two plus hours and are certain that the death toll is in the billions. The problem is we become so desensitized it’s hard to muster up any empathy for our main characters no matter what their situation. Of course, this is why there are kids in the movie. Filmmakers believe we automatically feel for the kids in tough situations. To a degree, they’re correct. However, here it’s not enough. Here, we feel like that one guy in other disaster movies that can only say to everyone “We’re all gonna die!” Besides that, none of the characters in this movie are worthy of our affection, anyway. It’s pointless because of three things. First, everything just kinda stops all of a sudden. Sorry, I don’t think that’s really a spoiler. Second, when the credits roll, we’re left with an overwhelming feeling of “Now what?” There’s no hopeful answer to that question even though the movie wants us to somehow remain optimistic. Third, much lip service, including the movie’s own advertising, is paid to the ancient Mayan prophecy of the world ending on December 21, 2012. However, the movie chucks that out the window and renders the Mayan notion coincidental, at best. Finally, it’s stupid for a variety of reasons. Most of them we’ve already seen play out in other disaster movies so I won’t go into it, here.

The Ugly: : How many government and military officials had to be left behind for Oliver Platt’s character to become acting President? He’s a head scientist of some department or another.

Recommendation: Armageddon, The Day After Tomorrow, Deep Impact, Independence Day, etc. If you liked these movies, this is for you. If you’re into big special fx, this is for you, too. As for the rest of you, move along nothing to see here.

The Opposite View: Dan Kois, Washington Post

What the Internet Says: 6.0/10 on imdb.com (7/27/10), 39% on rottentomatoes.com, 49/100 on metacritic.com

MY SCORE: 3.5/10

RocknRolla

RocknRolla
2008. Rated R, 114 minutes.
Director: Guy Ritchie. Starring Gerard Butler, Tom Wilkinson, Idris Elba, Toby Kebbell, Thandie Newton.

Plot: One Two (Butler) and Mumbles (Idris Elba) are trying to figure out how to pay old school gangster Lenny Cole (Wilkinson) the $2 million they owe him after a deal falls through. Meanwhile, Lenny is trying to keep the same from happening to his deal with a wealthier Russian investor/gangster. And they're all trying to figure out who is the informant that keeps getting everyone locked up.

The Good: In typical Guy Ritchie fashion, we get great circular story-telling, tough talking yet not as smart as they think they are bad guys and funny dialogue. We also get funny violence which is hard to do without totally sinking your movie. Another thing Ritchie consistently delivers is excellent performances from his actors. This proves to be no exception. Tom Wilkinson gives us the flashiest performance while Butler, Elba and Tom Hardy who plays Handsome Bob play off each other quite nicely. The two performances that make the movie tick however are Thandie Newton's almost lone female and Toby Kebbell's turn as drug addicted rock star Johnny Quid.The Bad: It's a bit derivative. First, it's definitely a Guy Ritchie gangster flick so it feels familiar right from the start if you've seen some of his other work. The Wild Bunch, as our gang of lovable bandits is called, feels very much like the crew from the Ocean's movies. Finally, the very very ending that shamelessly sets us up for the sequel, The Real RocknRolla we're told, is peculiar in both content and execution. It seemingly remakes a certain someone into a totally different character so he can start the sequel with a clean slate.

The Ugly: Everything that happens whenever Victor is asked to "join us."

Recommendation: This is going to sound a bit odd. I recommend it moreso to people who enjoy gangster/crime movies but haven't seen any of Ritchie's other work. People who have will likely enjoy it but may get a "been there, done that" feeling. Still, those people might want to see it anyway just to get in on the ground floor of what Ritchie is promising will be a trilogy.

The Opposite View: Mike McGranaghan, The Aisle Seat

What the Internet Says: 7.4/10 on imdb.com (5/18/09), 59% on rottentomatoes.com, 53/100 on metacritic.com

MY SCORE: 7/10