(2012)

Critic Reviews

43

Metascore

Based on 15 critic reviews provided by Metacritic.com
75
Simultaneously both archetypal Tyler Perry and another step in the direction of nuance and thoughtfulness for the filmmaker.
70
While Wesley is both too good to be true and an absence of a charisma on screen, Good Deeds is very fair to its two main female characters even as they're both entangled with the same man.
67
Perry holds back on the finger-wagging, eye-bulging tantrums. There were moments when I was grateful for that. There were others, like the kissy scenes between Perry and Newton, when I began to miss them.
50
This soapy effort about a prosperous businessman having a midlife crisis finds Perry working in the heavily melodramatic mode that marks his weakest efforts.
50
What the film needs more than anything is Perry's alter ego, Medea - a rampaging bowling ball who might knock all these stiff, upright characters spinning.
40
This film - like all the Madea-free dramas - could use more humor. Still, every Perry movie has its highs and lows. This time, the highs are a little higher, and the lows not quite so low. There is no faith-based message, but the moral is obvious: persistence pays off.
40
Newton's character is the only one we really become invested in. At least that's something. But Good Deeds leaves you wanting much more.
40
Much cut-rate melodrama ensues, none of it particularly painful to watch, until a ridiculously redemptive finale negates almost all of the preceding dramatic tension and resurrects a cloying Richard Marx chestnut to boot.
40
The melodramatic film has numerous light and comical touches, and the performances are uniformly good. The film's pace, however, has the consistency of molasses, and there's hardly a scene that wouldn't be improved by judicial trimming.
38
Good Deeds is the first of the 11 movies he's written and directed to try a one-tone-fits-all approach. Sadly, that tone is funereal, and it's always a beat out of step with the rhythms of both real life and most movies.
30
Tyler Perry has finally achieved an odd kind of equality that heretofore eluded him: he's now just as mediocre and middle of the road as any other reliable hitmaker in Hollywood.

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