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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Based on E.B. White’s enduring children’s story we meet Wilbur the Pig (Dominic Scott Kay) a runt who is saved from the axe by a little farm girl named Fern (Dakota Fanning). She raises Wilbur from infancy but eventually she has to send Wilbur over to her uncle’s neighboring farm since there’s no room for a pig in her house. There in the barn Wilbur meets the assortment of colorful animal characters: Betsy (Reba McEntire) and Bitsy (Kathy Bates) two pessimistic cows; motherly goose Gussy (Oprah Winfrey) and her henpecked hubby Golly (Cedric the Entertainer); Samuel (John Cleese) an uptight sheep; the skittish horse Ike (Robert Redford); the self-serving rat Templeton (Steve Buscemi); and of course sweet Charlotte (Julia Roberts) a spider with a heart of gold. When the naïve Wilbur finds out he might be Christmas dinner Charlotte makes a promise to her new friend that she’ll do everything in her power to make sure Wilbur sees the Christmas snow—and everyone ends up helping her out. What could be more fun than to voice a barnyard animal? Winfrey and Cedric’s geese banter is like an old married couple. Cleese gives Samuel the sheep a certain upper-crustiness. Redford is actually pretty funny as a horse who’s deathly afraid of spiders (“I’ll listen to you but I just can’t look at you”). Buscemi is a particularly nice choice as the sneaky rat Templeton who only thinks about filling his belly with food (no typecasting there we swear). For pure comic relief there are also two crows voiced by Andre Benjamin and Thomas Haden Church who just can’t quite get around the whole scarecrow thing. And as Charlotte Roberts has a truly soothing and loving tone sort of how you’d imagine it from the book. As for the human aspect Fanning continues to do what she does best playing Fern with the right amount of youthful innocence spunkiness and determination. Just wondering how we are going to handle it when this amazing little actress grows up and starts doing like adult things. Actually it is sort of a shame they couldn’t get a live-action version of Charlotte's Web made before Babe. Sure there was the 1973 animated cutesy film but a live-action adaptation of this timeless tale really should have been the standard by which all computer-generated talking farm animal movies would follow don’t you think? Instead Charlotte's Web pales ever so slightly in comparison. Oh well water under the bridge. Director Gary Winick (13 Going on 30) still manages to invoke the wonderful and uplifting spirit of the novel keeping faithful to the text in all ways. Visually the film is crisp and flawless in its execution particularly in the beauty and splendor of how Charlotte spins her webs and emotionally hearts will indeed swell and tears will flow. Charlotte's Web is the perfect family movie to inspire the next generation of young readers and viewers as well as for the rest of us who fondly remember the childhood classic.