Actor-director-mogul Tyler Perry didn’t come to preside over a vast media empire by paying much heed to the tastes of critics. His 10 feature-film releases to date – churned out over an eight-year span – have drawn mostly jeers from reviewers with his Madea comedies starring Perry in drag as a tough-talking southern matriarch singled out for special scorn. His latest effort the romantic drama Good Deeds isn’t likely to change many minds but it’s not for lack of effort from co-star Thandie Newton whose performance a struggling single mother stands out amidst the film’s otherwise crudely wrought melodrama.
Trading his Madea getup for the less-familiar guise of a leading man Perry stars as Wesley Deeds the scion of a wealthy family and whose lofty expectations have begun to wear on him. Beneath his sheen of polished affluence exists a man who draws little satisfaction from running Deeds Inc. the software giant his father built and who tires of shouldering the demands of his overbearing mother (Phylicia Rashad) the burden of his bellicose and oft-intoxicated bother (Brian White) and the monotony of his loveless engagement to his similarly well-bred fiancé Natalie (Gabrielle Union).
Trapped in a stultifying routine seemingly mapped out for him at birth Wesley longs to escape his gilded prison and trek across Africa on a Harley digging wells with his college buddies. Seriously that’s his dream: digging wells on a Harley.
Situated firmly on the opposite end of the socio-economic spectrum is Lindsey (Newton). Left alone to provide for her daughter after the death of her soldier husband in Iraq she has little time for fanciful visions of Harley-riding and well-digging. She’s too busy trying in vain to make ends meet as a janitor at … you guessed it: Deeds Inc. Despite her lowly status Lindsey clings fiercely to her independence which places her in stark contrast to Wesley.
Fate all but demands that Wesley and Lindsey make a match but not before their respective plights are established – and re-established – over a prolonged and laborious set-up that drowns in tedious exposition. (The majority of the dialogue in Good Deeds is devoted to affirming the obvious.) The desperate nature of Lindsey’s situation in particular is driven home with wearisome repetition in scene after scene depicting her various indignities suffered at the hands of the System. Newton an actress of impressive range and dexterity brings dignity and pathos to a role that probably asks too much of her.
A more efficient filmmaker might have trimmed a half-hour from Good Deeds’ first half without compromising its story one iota but then again that would only hasten the descent into soap-opera hysterics that marks the film’s second half.
The potential exists in Good Deeds for a thoughtful examination of class divisions within the African-American community – a topic that Perry who rose from poverty to become Hollywood’s highest-paid entertainer is uniquely equipped to explore – but what we get instead is an overwrought hybrid of aristocratic melodrama and How Wesley Got His Groove Back.
An artless aesthetic and narrative inconsistencies attest to the hastiness of the film’s assembly. In one scene Natalie’s flamboyantly effeminate male friend (played inexplicably by comedian Jamie Kennedy) complains that she’s never even mentioned her fiancé let alone introduced them. Yet when he encounters Wesley in quite literally the next scene they appear as if longtime acquaintances. It’s a problem that could have been easily fixed by a quick re-shoot or two but I suspect Perry was already too preoccupied with work on The Marriage Counselor – arriving in theaters less than six months from now – to bother with them if he worried about the issue at all. And if he doesn’t care then why should we?
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Nate Johnson (Cedric the Entertainer) an insurance agent thinks it would be a great idea to take his estranged wife and three children to his family reunion in Missouri by car from California. Nate's motives are sincere enough: He is separated from his wife Dorothy (Vanessa Williams) who has custody of teenagers Nikki (Solange Knowles) DJ (Bow Wow) and Destiny (Gabby Soleil) and hopes the road trip will help them bond as a family and with any luck re-ignite that loving feeling with the mother of his children. But everything that can go wrong does even before the trip begins. Nate brings his SUV into the shop to have an 8-track tape player installed in order to listen to his old Motown classics but what he gets is something straight out of MTV's Pimp My Ride although not even West Coast Customs would do something this gaudy. Off they go in their Burberry-outfitted low-rider Lincoln Navigator complete with four TVs and 26-inch Spinners. Vehicle with up-to-the-minute gadgetry notwithstanding the Johnsons encounter every clichéd road trip disaster including running out of gas and needing a pay phone. It's hard to figure out what's more trite--the journey to Missouri or what happens when they actually get there.
Cedric the Entertainer's trademark observational comedy which made him stand out as a cast member of The Steve Harvey Show simply isn't enough to carry an entire film. Cedric is truly the only funny thing Johnson Family Vacation has going for it and he has a few gags that are simply hilarious including a scene in which he bans CDs from artists who have been shot like Tupac Shakur and Notorious B.I.G. from being played in the car. Imagine his dismay when his wife points out that also includes Marvin Gaye "who was shot by his daddy--twice." But the comedian's arsenal of jokes--no matter how witty--do not a story make. Speaking of wasted talent the casting of stunning Williams as Nate's wife Dorothy is quite baffling. While Cedric the Entertainer could be married to someone this hot poor Nate probably couldn't. Nonetheless the quick-witted Williams holds her own next to one of the Original Kings of Comedy. Seventeen-year-old Bow Wow has worked hard to prove that he's not just a flash in the pan--and it's worked for the most part. He proved with Like Mike that he can act but the role of DJ here gets buried in this lousy film.
Christopher Erskin who makes his directorial debut here delivers a mess of a movie despite having squeezed out everything he could from his stars. Visually the sets resemble skits on a TV variety show rather than professional feature film sets the worst being the sequences where the family is in the SUV--almost half the entire film. To wit: you see them driving with the same scenery in the background--it's like in the The Flintstones when Fred would drive past the same palm tree next to the same rock house again and again. You can't help but picture the actors sitting in the Lincoln Navigator prop car in front of a large blue screen windows rolled down with a wind machine pointed at them. Matching the abysmal visuals are writers Todd R and Earl Richey Jones' ill-paced script. The film drags as the Johnson family encounters unoriginal setbacks and the end is not even a payoff; it's punishment. See the film doesn't end when family finally reaches Missouri: Moviegoers must the sit through the actual reunion and the Johnson family's Brady Bunch-style musical performance costumes and all. The only moment of brief relief is Steve Harvey's guest appearance as Nate's brother. But wait! It doesn't even end then--we have to follow the family back home to California.