Critic Reviews
| 75 |
New York Daily News
Patrick Huguenin
The problems are real; the solutions are ... well, really entertaining. Perry mixes heartfelt drama with bold-stroke, insult-slinging comedy.
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| 70 |
Variety
Though fans might miss Perry's genre-exploding daring, the excellent cast injects enough pathos and zing to keep picture percolating.
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| 70 |
The New York Times
More than anything, a Tyler Perry movie is an interactive experience, and Why Did I Get Married? is no exception. At the screening I attended, it was often difficult to hear the dialogue between bouts of enthusiastic applause and shouts of “You go, girl!”
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| 67 |
Entertainment Weekly
Perry is of the spell-everything-in-capital-letters and act-it-out-loudly schools. Yet his sensitivity to women is a tonic.
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| 63 |
Boston Globe
The most disappointing thing here, besides Perry's ongoing visual impairment (he deserves better cinematography and editing) is Scott.
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| 63 |
TV Guide
Perry certainly loves his divas -- the best parts are written for Scott and the wonderful Smith.
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| 60 |
LA Weekly
Jim Ridley
The writer-director-producer-star would rather save your soul and your marriage than engage your aesthetics. That’s probably why every other line was greeted at my screening with a chorus of stern “Mm-hmms” and “Exactlys!”
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| 50 |
The Globe and Mail (Toronto)
Jason Anderson
The movie has a better sense of flow than his past efforts, and a few lengthy travelling Steadicam shots and some decent mountain scenery (supplied by B.C. rather than Colorado) help dispel the feeling that Perry has merely filmed another of his plays.
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| 50 |
The Onion (A.V. Club)
Smith emerges as this subtlety-impaired film's most intriguingly ambiguous character, at times an acid-tongued shrew and at others a bluntly righteous truth-teller. The liveliness of her performance helps ensure that while Married is stiffly written, didactic, and whiplash-inducing in its tonal shifts, it's also very seldom dull.
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| 50 |
The Hollywood Reporter
As has been previously demonstrated in the hugely successful Perry's stage, television and big-screen works, subtlety and tonal consistency are not his strong suits. Here, the mostly broadly drawn characters and situations on display quickly prove grating, with the film veering awkwardly between broad comedy and melodrama.
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| 50 |
Chicago Reader
Perry hasn't lost his touch for stroking his loyal audience of Oprah women; his enforced happy endings are the car keys taped under your seat.
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| 20 |
Austin Chronicle
Toddy Burton
There’s such an overriding sense of soap opera that I kept expecting a commercial break.
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