When Madea catches sixteen-year-old Jennifer and her two younger brothers looting her home, she decides to take matters into her own hands and delivers the young delinquents to the only ... See full summary »
Taraji P. Henson,
While planning her family reunion, a pistol-packing grandma (Perry) must contend with the other dramas on her plate, including the runaway who has been placed under her care, and her love-troubled nieces.
Madea jumps into action when her niece, Shirley, receives distressing news about her health. All Shirley wants is to gather her three adult children around her and share the news as a ... See full summary »
Durell and LeeJohn are best friends and bumbling petty criminals. When told they have one week to pay a $17,000 debt or Durell will lose his son, they come up with a desperate scheme to rob their neighborhood church. Instead, they end up spending the night in the presence of the Lord and are forced to deal with much more than they bargained for.
While the exact charges against Madea are not specified at the start of the movie, when she is in court all charges are dismissed due to the police not reading her "Miranda". The sole time Miranda is applicable under U.S. case law is when there is custodial interrogation by the police (questioning where the suspect is not free to leave). Any crimes the police witness they do not need to interrogate the suspect. The violation of fleeing the police is shown and battery on an officer is inferred. Miranda would not need to be read for either of these offenses to be proved, and a lack of it being read would have no bearing on the validity of the charges. If the police violate a suspect's rights by custodial interrogation without the Miranda warning, the sole penalty for the violation is the suppression of any statements made by the suspect. See more »
[pulls out a box of brownies]
TADA! Brownies for my brownie! I made them myself.
Yeah, what do you mean "brownies for my brownie"? You trying to call me black or somethin'?
See more »
This narrative can't make it's mind up. The director (who also writes it) gets confused between whether he has written a comedy, or a melodrama.
The scenes containing what we believe to be the main protagonist 'Madea' are an attempt at comedy that rely on spectacle and stereotype. The gags aren't executed very well at all (yet you can't blame the actors and actresses with this script) and I get the feeling that this has all been done before, recently in fact and better I might add.
Scenes containing Candi are melodramatic and actually not that bad. There is some good acting and the plot is well contrived. Some of these scenes question American class division and have a purpose.
So, bring these two elements together and you get a confused audience. The two stories have no relevance to each other until the end of the film when they 'collide'. I use collide loosely because this doesn't even happen. The characters meet and nothing much happens. I think they spoke together in about three shots.
The story itself lets the director down as well. It's easy to second guess (yet you wish you'd be proved wrong) and you wonder whether you are watching two different movies playing at once. The character of Madea is badly constructed. There is no development what-so-ever. Without giving too much away; Madea's involvement in the ending is complete nonsense. People who have seen this film will probably agree that she has no real reason to be there.
To sum up, this is the worst film I have seen in years. The director should have picked one of the stories instead of merging them in some sort of Nutty Professor meets Pretty Woman side show. Utterly ridiculous.
19 of 25 people found this review helpful.
Was this review helpful to you?