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items tagged with Tyler Perry

From Rad to Worst: "Alexander & the Terrible, Horrible, No Good, Very Bad Day," "Dracula Untold," "Addicted," and "The Judge"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2014-10-12 20:12:40

Steve Carell, Jennifer Garner, Elise or Zoey Vargas, Ferris Dorsey, and Ed Oxenbould in Alexander & the Terrible, Horrible, No Good, Very Bad DayFriday, October 10, 10:05 a.m.-ish: My latest quartet of screenings starts with an adaptation of the beloved children’s book Alexander & the Terrible, Horrible, No Good, Very Bad Day. It’s a shame that the title has already eaten up about half my word count, because I now have far less space in which to rave about this surprisingly fantastic family comedy whose unforced cheerfulness is matched by its completely unexpected wit.


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So Bye Bye, Miss American Pike: "Gone Girl," "Left Behind," and "Annabelle"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2014-10-06 02:40:28

Ben Affleck and Rosamund Pike in Gone GirlGONE GIRL

David Fincher’s Gone Girl, adapted from screenwriter Gillian Flynn’s 2012 literary phenomenon, opened on Friday. I was tempted to compose this review under the headline “SPOILER ALERT!” just to make it absolutely clear that, to offer a thorough opinion, I’d be revealing elements of this suspense thriller that the uninitiated might not want revealed. But after a couple of days spent sitting on the experience, I’m not certain that going into the movie’s specifics is all that necessary, as long as (MODERATE-SPOILERS ALERT!) I’m allowed to say that (1) the role of Rosamund Pike’s titular Amy Dunne is a co-lead opposite Ben Affleck’s Nick Dunne; (2) almost no scene featuring Amy reads as remotely believable; and (3) in the end, that doesn’t matter all that much.


Read More About So Bye Bye, Miss American Pike: "Gone Girl," "Left Behind," And "Annabelle"...


Stale Magnolias: "Tyler Perry's The Single Moms Club" and "Need for Speed"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2014-03-16 21:57:00

Nia Long, Wendi McLendon-Covey, Zulay Henao, and Cocoa Brown in Tyler Perry's The Single Moms ClubTYLER PERRY’S THE SINGLE MOMS CLUB

In Tyler Perry’s new movie, a quintet of women with seemingly nothing in common beyond their single-parent status decide to ... .

I’m sorry. Can we stop for a moment? Tyler Perry has another new movie?! Is the yuletide corpse of A Madea Christmas even cold yet?


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Smaug Alert: "The Hobbit: The Desolation of Smaug" and "Tyler Perry’s A Madea Christmas"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2013-12-16 04:34:43

Martin Freeman in The Hobbit: The Desolation of SmaugTHE HOBBIT: THE DESOLATION OF SMAUG

The first great sequence in The Hobbit: The Desolation of Smaug – and, sadly, one of the few truly great sequences in Peter Jackson’s second (or fifth, if you’d rather) J.R.R. Tolkien installment – is an escape scene. At its start, hobbit protagonist Bilbo Baggins (Martin Freeman) and his dwarf companions sneak out of the Elven dungeon cells in which they’ve been imprisoned, and hope for clean getaways by stashing themselves in empty wine barrels and floating down a nearby river. Sounds simple. And it might have been if it weren’t for the rapids, and the waterfalls, and the whizzing arrows, and the savage orcs, and Orlando Bloom gingerly bouncing atop our heroes’ heads.


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Worst Intervention Ever: "Evil Dead," "Olympus Has Fallen," and "Tyler Perry’s Temptation: Confessions of a Marriage Counselor"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2013-04-07 17:49:05

Jane Levy in Evil DeadEVIL DEAD

While I like the movie just fine, I’m not enough of a fanatic for Sam Raimi’s 1981 splatter classic The Evil Dead to get in a twist about the existence of director Fede Alvarez’s new, definite-article-free remake Evil Dead. (It’s when Hollywood inevitably remakes Raimi’s priceless horror sequel Evil Dead II that we’re gonna have problems.) But despite being mostly entertained by Alvarez’s beyond-bloody outing, especially during its second half, I do have to question the decision to make it, for so much of its length, so bloody serious. This is a film, after all, in which a demon is released by a supernatural incantation, nail guns and electric carving knives are the weapons of choice, and one character escapes a (more-)dreadful fate by enacting a speedier version of 127 Hours. How are we not asked to laugh at all this?


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