Madea Goes to Jail

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.

I scratched my head through most of this movie and remain quite bewildered by it now that I've seen the whole thing. What's with the title? Madea (one of those man playing a woman characters) is really only about half of the movie, the half that deals with Madea is silly at best and irritating at worst, and she only goes to jail for about the last 20 minutes. So what's with "Madea Goes To Jail" as if that's the focal point of the story?

The real meat of the story revolves around the relationship between Joshua (Derek Luke) and Candi (Keshia Knight Pulliam.) Joshua is a DA who rose from the wrong side of the tracks and is now engaged to Linda (Ion Overman) - another DA and something of a "princess" - as she's repeatedly called. Candi, meanwhile, is a prostitute who grew up with Joshua and who reconnects with him. Joshua has a need to help her out of her situation. Something happened between the two years ago that makes Joshua feel responsible for Candi, but it takes a while for that to come out. This story is the "meat" of the movie, far more central than the Madea storyline, and not really related to it in any meaningful way. The Candi story is a heavy one: prostitution, drugs, jail, rape. For a comedy this is actually pretty dark most of the way through. Madea, I guess, is supposed to provide the comedy, but aside from a handful of scenes doesn't really accomplish that. There's a bizarre focus on religion throughout this, highlighted by a decent enough turn by Viola Davis as an unorthodox minister reaching out to the local streetwalkers. Even Dr. Phil appears in this. The exchange between him and Madea was cute for a while, but got tired very fast, and why it was deemed necessary to have yet another portrayal of a Madea/Dr. Phil session run during the closing credits is one of those mysteries no one will ever be able to explain.

If this had just focused on the Joshua/Candi story it would have made for some pretty good material and a pretty powerful movie. Unfortunately, the nonsense surrounding the Madea material drags everything else about this movie down. This is basically a poorly put together and overall unappealing movie. (3/10)

Tyler Perry has really outdone himself this time, making the deep artistic statement "I'm black, and I have a fatsuit." Sure, this statement has been made before by Eddie Murphy, Martin Lawrence, and others, but Perry adds a certain panache to the blackness and the fat suit that makes this more than just a movie about a black guy in a fat suit: it is THE movie about a black guy in a fat suit.

There may be other movies out there which you are tempted to see: "Slumdog Millionaire" may have won several acadmey awards, but where's the black guy in the fatsuit? How is that a movie? Tyler Perry continues to push the boundaries of artistic excellence with drag AND a fat suit, and we can only hope some day he decides to throw bad accents and white face into the mix.

I said it before...Let's show respect for each other. We can share our opinions without belittling and insulting one another. In his movies and plays, Tyler brings a lot of serious issues to our attention, and he uses the characters to help a lot of people deal with those issues. Now that we are increasing awareness rather than continuing to hide these issues, it's time to do something about them. Don't support Tyler Perry only to be entertained by Madea, Brown, or other characters, or to critique their work. Personally, I wasn't entertained by MGTJ. However, I did leave the theatre with an increased awareness of a very serious issue in our society. There's always a message, worth hearing, in Tyler's work.

If you like APF's (audience participation films), this is the movie for you, and by all means see MGTJ at the theatre. You'll enjoy the commentary, hysterical laughter in anticipation of the punch lines, ab-libbing, etc. Otherwsie, I recommend viewing on cable or satellite - with an open mind. See the bigger picture and ask yourself, "Does this film present issues that I can do something about?" Your commitment doesn't have to be large-scale. Maybe you resolve to challenge your old views.

If you don't like MGTJ, or you don't respect TP as a film maker. Make a better film addressing these issues and calling people to action.

Blessings, ~VP

I guess I should start off by admitting that I've never seen any of the previous Madea films, and that I went into this movie knowing nothing about it except that it's the latest in a long line of similar films which have gotten about the same public response as your average Steven Seagal movie. And that's not good, in case you're wondering. That's okay though, because during the opening credits we see various headlines zooming across the screen, like "Super-Sized Stripper Smacks Spectator," and we get the general idea. Madea has always been a problem for the police, she has a rap sheet a mile long and doesn't feel any need to change her behavior.

The movie comes dangerously close to being another one of those intolerable comedies where Eddie Murphy or Martin Lawrence star as every character in the movie. Madea's family are clearly meant to resemble the Klumps, although I would be lying if I said that they were not entertaining. Uncle Joe in particular is a goofy caricature, but he's a hilarious one.

The problem with the movie is that it tries to be two very different kinds of films, and it succeeds in being those two kinds of films, but the combination of the two styles kills this one completely. Half the movie is a light-hearted comedy in the vein of the Nutty Professors and Big Momma's House, but the other half of the film is a very serious drama that deals effectively with very serious issues. Life Is Beautiful is the only movie I've ever seen that really succeeds brilliantly at this story-telling technique, but that movie worked because it tied the two genres together. Life also comes close. This one, on the other hand, just throws the two halves in the same room and then sits back while they sit there not working.

Dr. Phil makes a surprisingly hilarious cameo as a therapist that tries in vain to get Madae to admit that she has an anger management problem, which ultimately lands her in jail. Meanwhile, Josh Hardaway, the Assistant District Attorney, is experiencing a wonderfully developing career, until he meets Candace, a childhood friend who has fallen into a desperate situation after years of drugs and prostitution. He tries as hard as he can to help her despite the hysterical and ridiculous whining of his horrid fiancé.

This is one of the worst parts of the movie, by the way. There is nothing worse than a romantic comedy that pits two suitors (male or female) against each other for the love of the main character, when one of the suitors is clearly tailor made to be the right choice and the other is an intolerable jerk-off. See 27 Dresses and you'll know what I mean. Josh's fiancé in this movie is unfortunately such a nagging, conniving wench that it's impossible to have any feelings towards her other than animosity. This is not a good start for a movie whose story is driven by the characters. Almost from the moment she enters the movie I was just waiting for Josh to come to his senses and boot her to the curb where she belongs.

The issues of prostitution and drugs and drugs are taken very seriously, there's even a pretty intensely emotional scene involving one of the key male characters, who breaks down completely under the weight of a tragic event for which he has never been able to forgive himself. The acting is superb in this scene, but it is genuinely bizarre when Madea shows up again and we realize what the rest of the movie is like.

It's impossible to tell if this is supposed to be a comedy or a drama, because both elements are done fairly well but they simply don't work when put together. I don't need my movies to be categorized, in fact I am pleasantly surprised when films cleverly bend genres, but this one gives us one character with a truly frightening history of drugs and prostitution and another character who lifts a car up on giant forklifts and then drops it 30 feet onto the pavement when a callous owner steals her spot at K-Mart.

Ultimately Madea and Candace get locked up in the same prison, and the two stories attempt in vain to come together. I won't say that all of the character are utterly uninteresting, although there are several points where a stupendous lack of screen writing ability is made abundantly clear. Consider this exchange between Candace and her new cell-mate, who happens to be one of her old, close friends –

Candace: "You look good." Cellmate: "Yeah, I'm doin' good. How you doin'?"

Are you serious? I'm doin' good? How you doin'? Is this an inside joke? You're both in prison! Who says they're doin' good or asks someone else how they're doin' when both of them are in prison?

But maybe I'm nitpicking. There are moments of fun in the movie, there are a few laugh out loud moments, and there are some moments of pretty impressive acting, but the movie as a whole, unfortunately, adds up to something much, much less than the sum of its parts.