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Madea's Family Reunion
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MPAA RATING: PG-13 for mature thematic material, domestic violence, sex and drug references
Starring Lynn Whitfield, Tyler Perry, Blair Underwood, Boris Kodjoe, Maya Angelou, Jenifer Lewis, Keke Palmer, Rochelle Aytes, and Cicely Tyson
Based upon Tyler Perry's acclaimed stage production, Madea's Family Reunion continues the adventures of southern matriarch Madea begun in the hit film Diary of a Mad Black Woman. (Lionsgate)
| GENRE(S): | Comedy | Drama |
| WRITTEN BY: | Tyler Perry (also play) |
| DIRECTED BY: | Tyler Perry |
| RELEASE DATE: |
DVD: June 27, 2006 Theatrical: February 24, 2006 |
| RUNNING TIME: | 107 minutes, Color |
| ORIGIN: | USA |
All critic scores are converted to a 100-point scale. If a critic does not indicate a score, we assign a score based on the general impression given by the text of the review. Learn more...
The average user rating for this movie is 7.5 (out of 10) based on 39 User Votes
Note: User votes are NOT included in the Metascore calculation.
Brendan T. gave it a7:
I'd have given it a 9 if not for the fact I watched the DVD version of Madea Goes to Jail prior to watching the DVD verison of this movie. For those who saw 'Madea Goes to Jail' and haven't seen 'Reuinion' the movie, let's just say Mr. Perry decided to recyle alot of lines from it. Also, unlike 'Diary' the movie does not have the same story as its on-stage counterpart. Having seen all of his Madea movies this one was prettymuch 'Reunion' 'Jail' and 'I Can Do Bad All By Myself' rolled in one. For those who haven't seen his other work you might want to skip the next two paragraphs, as they contain MAJOR Spoilers. [***SPOILERS***] Unlike the on-stage version there is an actual reunion but it's not at Madea's house. As in the original the planned marriage never takes place but another couple gets married instead. From 'I can do by all by Myself' Tyler recycled the scenario in which one family member reveals she was raped as a child with her mother's consent. Tyler even went so far as to spoil some of the plot to 'Madea Goes to Jail' by introducing a little girl who must live with her by order of a judge. It's volintary in 'Jail' but what she does and says in 'Reunion' the movie is not much different. Those aside, I can say this is movie calls on Black America to unify itself and stop killing and hurting each other. This was made obvious during the actual reunion but it the message was loud and clear throughout. Like 'Diary' the movie Madea plays comic relief and appears in less than half of the movie. Once again, Tyler plays the role of 3 on-screen characters (Madea, Joe and Brian) and during scenes in which two of them are talking to each other in the same frame, he uses a double to play Madea or Joe. Brian plays Madea's lawyer and Joe can be considered the movie version of Mr. Brown from the on-stage productions. The adding of new characters still does not take away from the fact that Madea's on-stage daughter Cora was absent from the film. I say that because she is a major character in the on-stage version and with her absent from the movie it slowed the momentum quite a bit. Overall, if you've never seen the plays you'll love this movie but if like me you've been following Tyler Perry from his early days you might be disappointed with the recycled material.
Shelley N. gave it a10:
It was awsome. I love Madea she is so funny. The movie made a lot of good points.
Mark B. gave it an8:
Lions Gate (excuse me, Lionsgate) has got to be the smartest, most market-savvy studio currently operating in Hollywood! Never mind that their relentless, under-the-radar stealth campaign for Crash impressed the Motion Picture Academy more than the somewhat strident and arrogant "this is a cultural phenomenon, and therefore your ONLY viable choice, dammit" psuedo-strategy employed by Focus Features for Brokeback Mountain. (I would've been happy with EITHER movie taking home the big prize.) These guys also knew that the time was right in fall 2004 for a truly "hard-R" horror movie (Saw, which started not only its own franchise but a profitable if regrettable new trend); they grabbed onto a seeming hot potato of a documentary that they realized had great appeal to 49% of the voting public (Fahrenheit 9/11); and with just two Number One movies they transformed a playwright/actor that much of the moviegoing public had never even heard of 18 months ago into one of the few writers whose name alone, like Stephen King's SOMETIMES is, into a real box office draw. As he did with last year's Diary of a Mad Black Woman, Tyler Perry once again gives us a rambunctious, hugely entertaining (and, if you're not a fan, highly schizophrenic) tossed salad of soap opera melodramatics, social commentary, swoony romance, Sunday sermon, African-American wake-up call, and low comedy, with Perry himself providing much of the latter in front of the camera as ne'er-do-well Joe (a distant spiritual cousin to Fred Sanford) and no-nonsense matriarch Madea. Some viewers find Perry's clashing tones jarring and unwatchable; I find his sheer unpredictability bracing and exhiliarating. Where else can you see a movie that gives you in one big package a searing family drama involving rape and incest, a deliciously down-and-dirty conversation between the two villains (played by Lynn Whitfield and Blair Underwood like neither has had so much fun in front of a camera ever at any time) that without the Freudian undertones could've come out of a 1947 Joan Crawford movie, a serious address to the Black community delivered by Maya Angelou and Cicely Tyson, and a bunch of fart jokes? To paraphrase Sally Field, this is the cinematic equivalent of the box of chocolates Forrest Gump was talking about! (My only reservation in this category--and maybe this is a cultural thing--is that I felt uncomfortable watching Perry rightly denounce spousal abuse one moment and then present the whipping of a child to within an inch of her life as the best way to get her to clean up her act the next.) Perry's first outing as a movie director is a surprisingly assured and successful one: he reveals a shocking truth about a major character skillfully and to maximum effect, and I enjoyed his not-exactly-subtle but not-quite-heavyhanded use of colors to suggest and sustain mood: fiery, dangerous reds in scenes involving a deceitful, manipulative mother; warm browns and other earth tones in Madea's household; ethereal whites and blues in a wedding sequence. Perry's work is expanding beyond the African-American audiences that previously made up nearly his entire fan base not only owing to his skill as a very effective, entertaining storyteller, but also because Madea herself is one of those universally recognizable characters that everyone either knows or would sure like to. Be honest: wouldn't YOU love to have someone in your extended family who always tells you the truth, provides a place of comfort and refuge whenever you need it, and either beats the living bejeebers out of your enemies or teaches YOU how to do it?
Deidre L. gave it a10:
I loved this movie, Medea was funny. The movie had a great overall message to it. I would definitely go and see it again.
Laura M. gave it a5:
I laughed a lot, had some good points made on moral issues. Hated the scene where the abused fiancee threw grits on to be husband, could be a bit more creative and not so predictable. The wedding scene did not inspired me to say the least.
Jada G. gave it a10:
I was surprised. Absolutely fantastic.
Anna W. gave it an8:
Tyker Perry addressed issues that are prevalant to African American families. He let his characters mature. Spoon fed his audience wisdom.
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