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The Screengrab

  • Unwatchable #83: “First Sunday”

    Our fearless – and quite possibly senseless – movie janitor is watching every movie on the IMDb Bottom 100 list. Join us now for another installment of Unwatchable.

    I’m not the world’s biggest fan of writer-director-cottage industry Tyler Perry. I know he’s got a loyal following that will fill theaters every time he serves up his patented mix of sermonizing, self-help platitudes and ham-handed ensemble comedy, and I’m fine with that. It just so happens he makes the sort of movies that are the exact opposite of anything I’d find entertaining. But having said that, I would gladly sit through a triple bill of Diary of a Mad Black Woman, Daddy’s Little Girls and Why Did I Get Married? if it meant I would never have to see First Sunday again.

    You know Perry has truly arrived when the cheap imitations of his work start showing up, and that’s what we have here, despite an ad campaign designed to trick the slow-witted into thinking First Sunday is the latest installment in Ice Cube’s Friday series.

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  • Reexamining Tyler Perry

    When a small, perhaps technically ragged movie strikes gold, the way films as different as Chasing Amy and My Big Fat Greek Wedding did, it may be because there are a lot of people who think that it connects with their lives in a way that glossy Hollywood product never does. Sometimes, this can be confusing, and even disconcerting, to critics and studio people who aren't a part of that target audience, and who don't know what to make of the news that we're not yet all part of one, big totally homogeneous culture. But it's been clear for a long time now that black women don't see their fantasies or their real-life concerns reflected in most Hollywood movies, and that they feel that as a loss. Waiting to Exhale shocked critics by how thoroughly it cashed in with that audience; Dreamgirls got a toehold with them. But for the last couple of years, it's Tyler Perry who's really picked that ball up and run with it. And his audience, with many black women, has responded gratefully and loudly to having a one-man entertainment industry they can call their own. Perry's movies — he's written, directed, and co-produced two features this year, Daddy's Little Girls and the new Why Did I Get Married?, and co-stars in the latter — combine broad comedy with church-based moral lessons and sociological observations, in a way that his fans find uplifting. His studio, Lions Gate, has basically stopped screening them for critics, partly because they know that mainstream critics don't get it, but also because his real audience is so aware of who he is and what to expect from him that his movies are pre-sold without reviews.

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