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REEL CRITIC:
‘Browns’ leaves one with the blues
By Phillip Hain
The very good lesson I learned while watching “Tyler Perry’s Meet the Browns” was that I should not go and see any more films by this successful but limiting actor/writer/director. I really enjoyed the freshness of his first movie, “Diary of a Mad Black Woman” but saw too much repetition in his next one, “Madea’s Family Reunion” and that same problem resurfaces in this latest effort.
People go to the movies for many reasons, and I try to apply a multitude of perspectives when I review one, the primary one being, “Is it a good piece of art?” The answer to that question is extremely subjective, but some of the things I look for would be defined as original, well-acted, entertaining and certainly funny, if it’s advertised as a comedy. I’ll give much credit to the acting here and a slight tip to entertaining, but my praise can go no further.
Perry — whose work is quite popular in the Black community — has reworked and relocated his theme that men are bad (except the hero), women are victims with obstacles to overcome, and faith in God will get you through to a happy ending. His characters are the redundant stereotypes that always have the same problems.
This time it’s Brenda (Angela Bassett), a struggling single mother in the Chicago projects whose constant money problems escalate when she loses her job. Her oldest son, Michael (Lance Gross), is a promising high school basketball player who is doing well despite lacking a father figure. This void appears in the form of Harry (Rick Fox), a talent scout and former professional player who sees undeveloped potential in both the kid and his mom.
When Brenda gets a letter and bus tickets to attend the funeral of the father in Georgia she never knew, she gains a whole new set of relatives, starting with three half-siblings; moderate L.B. (Frankie R. Faison), ebullient LeRoy (David Mann), and tipsy Vera (Jenifer Lewis). Also included are L.B.’s sympathetic wife, Sarah (Margaret Avery), LeRoy’s compassionate daughter Cora (Tamela Mann) and Vera’s embarrassed son Will (Lamman Rucker). Each is summarized in a single word because they’re all one-dimensional.
The plot devices are overly simplistic, such as the amazing coincidence of Harry being from that same small town — how convenient for him to coach Michael and court Brenda! While some may find LeRoy funny, I saw him as a buffoon that you laugh at, not laugh with. His outfits, mannerisms and expressions fell flat for me.
The same is true of Brenda’s friend Cheryl (Sofia Vergara), a Latina caricature who must have spent too many hours in an acting class run by Charo. (You almost expect her to break out with “cuchi-cuchi” but are thankfully spared that indignity.) Perry’s signature character of Madea is thrown into one totally pointless scene that has no relevance to anything else.
However, the woman seated behind me laughed enthusiastically — if not consistently — during the film, confirming the fact that Perry doesn’t aim his movies at me. I’m obviously not his intended audience, but I believe his loyal following of Blacks, such as the woman sitting near me, will show the same appreciation for this film as they have for his others. Perry’s own rags-to-riches story is admirable, as are the core messages of his films: Focus your energy on belief and perseverance. I just wish he could find a better way to spread his own brand of gospel.
PHILLIP HAIN is a Glendale resident who enjoys movies.
People go to the movies for many reasons, and I try to apply a multitude of perspectives when I review one, the primary one being, “Is it a good piece of art?” The answer to that question is extremely subjective, but some of the things I look for would be defined as original, well-acted, entertaining and certainly funny, if it’s advertised as a comedy. I’ll give much credit to the acting here and a slight tip to entertaining, but my praise can go no further.
Perry — whose work is quite popular in the Black community — has reworked and relocated his theme that men are bad (except the hero), women are victims with obstacles to overcome, and faith in God will get you through to a happy ending. His characters are the redundant stereotypes that always have the same problems.
This time it’s Brenda (Angela Bassett), a struggling single mother in the Chicago projects whose constant money problems escalate when she loses her job. Her oldest son, Michael (Lance Gross), is a promising high school basketball player who is doing well despite lacking a father figure. This void appears in the form of Harry (Rick Fox), a talent scout and former professional player who sees undeveloped potential in both the kid and his mom.
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The plot devices are overly simplistic, such as the amazing coincidence of Harry being from that same small town — how convenient for him to coach Michael and court Brenda! While some may find LeRoy funny, I saw him as a buffoon that you laugh at, not laugh with. His outfits, mannerisms and expressions fell flat for me.
The same is true of Brenda’s friend Cheryl (Sofia Vergara), a Latina caricature who must have spent too many hours in an acting class run by Charo. (You almost expect her to break out with “cuchi-cuchi” but are thankfully spared that indignity.) Perry’s signature character of Madea is thrown into one totally pointless scene that has no relevance to anything else.
However, the woman seated behind me laughed enthusiastically — if not consistently — during the film, confirming the fact that Perry doesn’t aim his movies at me. I’m obviously not his intended audience, but I believe his loyal following of Blacks, such as the woman sitting near me, will show the same appreciation for this film as they have for his others. Perry’s own rags-to-riches story is admirable, as are the core messages of his films: Focus your energy on belief and perseverance. I just wish he could find a better way to spread his own brand of gospel.
PHILLIP HAIN is a Glendale resident who enjoys movies.
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