Madea Goes to Jail

Tyler Perry is the BEST!! And this play is his FINEST! I have seen and own all Tyler Perrys' Plays and Movies and this is my favorite. It contains Comedy,Drama,Action,Music, and Tylers' surprisingly NICE singing voice. This is a MUST SEE!! The cast is great and the only character missing is Mr. Brown. Still Madea pulls it off and does it once again. Keeps you rolling on the floor with laughter. Can't wait for the movie. If its Tyler Perry you know its going to be good. There's a life lesson in all TPs' Plays. Don't Miss the Big one here. Be Prepared to laugh, cry and everything in between. You will not be disappointed.

I love the way she acts,Tyler did great in all.wow,well done.keep going.best laugh even when your not well,this 🤣 😂 😆

I agree that it did sort of drag during the last part, but all-in-all I got so many laughs from watching this. There were also many wonderful "food for thought" moments whenever Madea would spout her wisdom. The music was fantastic, and delivered by gifted singers. I loved the moves the "backup singers" did behind the sofa. I think this is perhaps the best of all the Tyler Perry films...and I am a huge fan of anything he does. He knows his audience well, and is so good at conveying important messages through his scripts. It's rare that I see a film or play that gives me so many laughs AND so many truths that make me want to stand up and shout, "YES!!!" Tyler Perry is a young genius, and I hope he produces much, much more material!

My resistance to the Tyler Perry vision is crumbling. I'm not sure exactly why. I'm. still an agnostic and some of the humor is sub-Martin Lawrence. But when more of an artist's work rings true than not true I have to sit up and pay attention. I watch all kinds of films and television and I can proudly acknowledge that Tyler Perry is up there with Marc Cherry, the creator of WEEDS and SOUL FOOD, Ryan Murphy and UGLY BETTY. Perry has a tremendous grasp of classic Greek drama and arguably Elizabethan drama, too. He speaks to his audience clearly and warmly. I can't wait for the film version of this play. Somehow, he even goofs on THE MATRIX in this work. He's deserving of major props and respect.

How has this man found an audience for this swill? I was subjected to two—two!--of these hideous videos as a member of a captive audience (some boor decided to foist his idea of entertainment on everyone who purchased a ticket on a long-distance bus tour). Black man in drag plays loud, intimidating, violent virago—it wasn't funny in 1906, and it isn't funny in 2006. I am baffled and angry that Tyler Perry has resurrected this ugly staple of an unmourned past. There was no plot. (All pretense of a plot simply ceases somewhere in the unending second hour, when unforgivable versions of 1970's soul classics are attempted.) The writing was worthy of a seventh-grader. The platitudes were non-stop. And the cues for the sad attempts at original "songs" were so obvious that I almost wept, because I knew that another assault on my ears was coming. Perry knows his target audience: there was whooping and cheering of violence, particularly the violent punishment of children. There was gyrating in orgiastic delirium at the mere mention of "de Lawd." And where did Perry get the idea that if you scream it loud enough, you need neither poetry, beauty, harmony, nor symmetry? We don't need violent Aunt Jemimas in 2006, and, if you value your history, your intellect, and your hearing, you don't need "Madea."