![]() ![]() Only Roberts, flirting shamelessly with creaky old Joe, manages a giggle. Levy tries to get into the spirit of things, sputtering up to some sort of lather in moments of outrage. Perry drags this dull, dated bit about airport security (“What, I’ve got to take my SHOES off?”) on and on, failing utterly to find a laugh in it. Madea’s first-ever plane trip is a centerpiece, and it’s as unfunny as the movie gets. Somehow, Madea has to get on a plane, go to New York and re-enact Whoopie Goldberg’s Oscar-winning turn in “Ghost,” convincing a bank to transfer money that isn’t hers to foil villains she doesn’t know. ![]() Somehow, the guilt-ridden accountant has to help the charities that were ripped off by the Ponzi scheme, especially the Atlanta church whose aged pastor (John Amos)entrusted his son (Romeo) with the money, Somehow, mom and old Joe (Perry’s funniest character in this film) have a connection. ![]() More jokes about the dotty old mother not quite being hip to 21st century race relations. Lots of jokes about the white folk hiding in Madea’s African American neighborhood. Brian talks Madea into taking in the accountant (Levy), his trophy wife (a plastic-faced Denise Richards), mom (Doris Roberts) and two kids. Prosecutor-nephew Brian (Perry, in less makeup)needs a place to hide a mob-connected accountant whose firm (run by Tom Arnold) just got caught running a Ponzi scheme. Scene after scene has Perry, in his prettiest Madea makeup, straining to find something funny to say - riffing, impatiently trying to improv something, anything, needing to get on with it because he has more important things to worry about. The witless “Witness” has the worst performance of comic Eugene Levy’s storied career, doesn’t even hide where it steals its ideas (“Ghost”), and feels exhausted from the start. His distractions - TV series to oversee, an outside-Madea acting career that he’s trying to get going (playing detective Alex Cross), a film studio to run - make this something less than “phoned in.” And supposedly, he’s learned a thing or two about making movies over the past decade.īut “Madea’s Witness Protection” is, even grading on the curve, a weak effort. He’s grown beyond the chitlin’ circuit all-black-cast tenor of his stage plays. But he’s gotten in the habit of casting better actors in supporting parts. His homilies, homespun wisdom and relationship/life advice have a touch of Oprah about them - a bit preachy. Now that you have started this, Tyler, you know we are going to expect film companions all the time now.With Tyler Perry movies, I’ve found it best to just search for a way to go with it and see where he tries to take you. Thank you, Tyler, for going the extra mile for us and sharing more in-depth detail about MADEA’s WITNESS PROTECTION through the film’s companion. I promise after you read the companion you will be running to purchase your tickets and trust me you won’t be disappointed. the self-serving variety I encourage you to download the MADEA WITNESS PROTECTION film Companion and share it with your family members and friends. MADEA embodies a number of other themes, including: – A teaching experience for living “The Golden Rule” within the family – Letting go of excessive material needfulness – Offering productive ways of dealing with anger – Does God “punish us” for our sins? – Welcoming strangers, respecting elders, and honoring parents – “Rain makes everything grow!” (finding the silver lining in bad situations) – Authentic Christian charity vs. Like all of the MADEA films, “WITNESS PROTECTION” deals in a positive way with touchy issues of race relations and shows how the average American can overcome racial bigotry and learn compassion and understanding. Though not a Christian “ministry film”, MADEA’S WITNESS PROTECTION does present a distinctive Judeo-Christian worldview. Tyler Perry’s “Madea’s Witness Protection” opens on Jin theaters nationwide and we are so impressed that his team has sent the Church Lady Blogs it’s F ilm Companionfor our readers to review prior to seeing the movie. ![]()
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