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Madea's Witness Protection (2012)

 -  Comedy | Crime | Drama  -  29 June 2012 (USA)
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A Wall Street investment banker who has been set up as the linchpin of his company's mob-backed Ponzi scheme is relocated with his family to Aunt Madea's southern home.



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Title: Madea's Witness Protection (2012)

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Cast overview, first billed only:
Pastor Nelson
Shayne Anderson ...
TSA Agent
Dean Balkwill ...
Agent Mulligan
Jack Goldberg
Eric Brooks ...


A Wall Street investment banker who has been set up as the linchpin of his company's mob-backed Ponzi scheme is relocated with his family to Aunt Madea's southern home.

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Comedy | Crime | Drama

Motion Picture Rating (MPAA)

Rated PG-13 for some crude sexual remarks and brief drug references | See all certifications »

Parents Guide:



Official Sites:

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Release Date:

29 June 2012 (USA)  »

Also Known As:

Tyler Perry's Madea's Witness Protection  »

Box Office


$20,000,000 (estimated)

Opening Weekend:

$25,390,575 (USA) (29 June 2012)


$65,623,128 (USA) (14 September 2012)

Company Credits

Production Co:

Show detailed on  »

Technical Specs

Sound Mix:

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Aspect Ratio:

1.85 : 1
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Did You Know?


In New York, when Madea gets out the cab to go into the bank, she asks George why he's speaking in a French accent when he's only speaking to her. She then says she can also speak French, citing mispronounced lyrics to Lady Marmalade ("Giuchie, Giuchie, ya ya dada...Mocha Chocalata ya ya"). Earlier in the film, Barbara flirts with Joe, saying, "Hello, Joe, wanna give it a go?" This is also a lyric to Lady Marmalade. See more »


The blue-screens are visible through Madea's glasses throughout the movie, more prominent during the hotel trip and the conversation with her becoming Precious Jackson before that. See more »


Follows Madea Goes to Jail (2009) See more »


Runnin On This Track
Written by David Mabee and MT Marlett
Performed by Del Rio and DJ Empty
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User Reviews

Oh No! Mad Black Woman Returns in Silly/Contrived Installment, Errs on the Side of Cliché Silliness Rather than Substantive Comedy
16 July 2012 | by (Oakland, CA) – See all my reviews

This film re-affirms Sturgeon's Law, which says 90% of music, books and films are c.r.a.p. Only about 2 scenes and 7 lines in this film had any shred of originality. Most of the film relies on silly Jerry Lewis-type comedy targeted at an audience who'll laugh at anything which goes splat, most of which has been used over and over again in forgettable films since the 1930's. Tyler Perry has had success with possibly the most over-the-top, ridiculous, pompous and irritating character in recent memory, named simply Madea. And the bad part she been and probably will return in many films. In previous offerings, she was Grandma Madea. In this film she is Auntie Madea.

Madea is a cross between Aunt Esther (the over-the-top bible-thumping matriarch from the 1970's television show "Sanford and Son") and Mama of "Mama's Family" of the 1980's, all encompassed within a body which would give football line backer Lawrence Taylor a run for his money. She has a behind which fits into dresses like a medicine ball being forced into jockey shorts and breasts which probably need multiple area codes. She overtakes the rest of the cast not just in height and build but in her endless need to spew out relentless cliché dribble, speaking every single thought in her head no matter how offensive or ridiculous. The only aspects of Madea I found I could tolerate was when she left her scenes. It was like "thank God". Her vocabulary is limited, with the words "sugar", "honey", and "ass" being repeated over and over again.

But Madea is not the only problem with the whole experience. The CFO's wife looks like she just graduated from High School, looking a lot like the older sister of his daughter. Was this supposed to be funny? It was just stupid and verging on offensive. His mother who lives with them is not playing with a full deck. As Madea puts it, "the store's open but nobody's shopping." The other children seem like characters who didn't make the final cut of the Brady Bunch.

The plot, obviously contrived to enable some means to put Madea into the "story", involves a middle-aged CFO of the charity/foundation part of a mob-backed corporation which has been running a ponzi scheme. He arrives at the office where everybody is shredding everything in site. If they were trying to force computer screens into shredding machines, it wouldn't have been any more crazy. He finds out he was hired as the fall guy for the corporation which will be the center-piece of an upcoming PBS Frontline. He puts himself at the mercy of government investigators who decide to put him and his family into a safe-house while the trial is underway, fearing that this will be the best protection.

Of course, the investigator has his aunt put up the white family in, you guessed it, the home of the Mad Black Woman: Madea. The main thrust of the comedy involves the white family possibly from Upstate New York or New England being in the same sphere of the Mad Black Woman from the South. Every scene and every confrontation was predictable and totally contrived from the first. She spews out line after line of cliché tripe, most of which is so predictable and vulgar that it wasn't even remotely entertaining. It's just unbearable. And the problem is, we know what she's going to say. For example, she doesn't like the white folks sleeping late: "You better get the hell up or when I come back up in here you know what's gonna happen? You're gonna taste the rainbow." or "If I come back up these stairs and you still in this bed I'm gonna get completely naked and get up in there with you and spoon." Now that has to be the most horrible threat of the entire movie. I would prefer being accosted by Charles Manson than seeing Madea without any clothes. The only sequence I found remotely entertaining involved Medea's brother Joe and the implication that he and the white CFO might be related. He asks questions and finds they have more in common than they might realize.

This movie is essentially a series of bad Saturday Night Live sketches all involving the character Madea. Inside the film, was a better one which could have been much more interesting. One character is the son of a preacher who has lost their church's money which he invested into the ponzi scheme. That had great potential and still could have been funny to see how he could get back the money. But unfortunately, the movie is all about Made, and the whole idea never takes itself seriously. Madea's bad clothes, her bad lines, her bad demeanor. And if you don't find Madea funny, it's gonna be your-know-what. I think Tyler Perry has a modicum of talent, but he isn't going to win any acclaim with this drivel.

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