There are distinct echoes of Alan Alda’s The Four Seasons and Lawrence Kasdan’s The Big Chill here as the film focuses on four couples who have been friends since their college days. Periodically they get together and ask themselves the title question as they re-examine their relationships. There’s Janet Jackson as Patricia the college lecturer whose best-selling book is based on her friends’ relationships. Patricia and her husband Gavin (Malik Yoba) are trying to hold their marriage together after the loss of their young son in a tragic car accident. The cocky Mike (Richard T. Jones) flaunts an adulterous relationship in front of his insecure overweight wife Shelia (Jill Scott) who is completely oblivious to the deception. Terry (Perry himself) is a successful pediatrician trying to convince his wife Diane (Sharon Leal)--a successful attorney in her own right--to have more kids. Marcus (Michael Jai White) a former pro football player merely tries to get through the day without a tongue-lashing from his acerbic wife Angela (Tasha Smith) a woman not known for keeping her opinions to herself regardless of how appropriate the circumstances. All of them find themselves confronting career demands family demands infidelity incompatibility and mistrust--all while drinking far too much wine. Needless to say before their get-together is over a number of secrets will be divulged and each couple will find their relationships shaken to their respective cores. Forgoing the housedress of his cinematic alter-ego “Madea ” Perry proves an affable screen personality quite relaxed within the ensemble. Jones doesn’t go out of his way to make Mike in any way likable which makes his one of the more memorable and clearly defined characters in the entire cast. Although Smith gets all the sassy lines White easily steals their scenes together with a surprisingly appealing comic turn. Hunky Lamman Rucker plays a dreamboat sheriff who finds himself drawn into this ever-shifting circle of friends. The women have a tougher go of it with Jackson giving a tremulous performance that makes her character almost disappear into the background. Yoba is also low-key although more affectingly so as her onscreen spouse. Leal does what she can with the stock role of a career woman who takes her home life for granted but she fares better than Scott whose crying scenes--and there are more than one--ground the story to a halt. All told however the ensemble cast has an easy and relaxed chemistry together which keeps the film--as soapy as uneven as it often is--afloat throughout. Tyler Perry doesn’t open up his stage play to any major degree preferring to leave the emphasis on characters and dialogue--both of which incidentally he has created. Perry tends to approach these intricate topics with broad (but not irrelevant) strokes but he’s not about to tamper with a successful formula. Like most of Perry’s previous films (Diary of a Mad Black Woman Madea*s Family Reunion et. al.) Why Did I Get Married? runs on a bit and overstates its case but its heart’s in the right place.
She's a hip-hoppin' be-boppin' mean ol' nanny who whips a mean stew and your butt for not doing your homework—and now she's back! Alas we don't speak of the Mrs. Doubtfire sequel but rather that of Big Momma a.k.a. FBI Agent Malcolm Turner (Martin Lawrence). Agent Warner has cut ties with the FBI at the behest of Sherry (Nia Long)—who as you no doubt recall is the granddaughter of the real Big Momma—since she's pregnant with Malcolm's baby. But wouldn't you know that he gets sucked back in after a former colleague is killed. Posing as Big Momma he's hired as a nanny to a suburban family the deadbeat dad of which is involved in the murder and a crime plot. She does it all—cooks cleans dances and even runs down bad guys but it's a race against time to stop the potential national security crisis. That is a race against the film's (mercifully) short running time. Although Lawrence's resume includes some of the dregs of comedy it's hard to argue that he is truly blessed when it comes to physical comedy and comedic timing. He continues both trends here this time without the help of the breakthrough actors of the past two years Paul Giamatti and Terrence Howard who yes both starred in the first Big Momma's House. That means Lawrence's urban mania is truly on its own and absurd and juvenile as the film may be even film snobs can't hold back a few laughs at his Big Momma outlandishness. Longreturns for no more than a select few scenes and to provide a minor conflict in the story. The notable newcomer is CSI's Emily Procter as the sterile mother who hires Big Momma. She does a serviceable job as a suburban Petite Momma. Might she be the next Giamatti or Howard to bolt to bigger and better things in time for the next sequel? No.
Big Momma's House 2 is right up director John Whitesell's alley. He's the guy behind such misses—though not necessarily financially—as Malibu's Most Wanted and See Spot Run and he's right at home here. Whitesell doesn't hold back in (literally and figuratively) pulling the robe off Big Momma but he clearly knows that nothing is to interrupt Lawrence's antics not even the thin story line. Aside from that he knows quite well how to execute thinly veiled rip-offs of the aforementioned Mrs. Doubtfire as well as countless other hidden-motive comedies (i.e. Kindergarten Cop Houseguest et al). Because while the main guise is the Big Momma fat suit Whitesell parades the film about as a feel-good/family flick.