Understanding Tyler Perry, the Phenomenon
by Aymar Jean Christian
Watching a Tyler Perry movie is a strange and ecstatic experience. Perry’s desire for shenanigans, inanity and heightened emotions always makes for an entertaining evening. But his films are in a strange in-between space: between melodrama and traditional drama, between alternative cinema and Hollywood style, and between black authenticity and pure elitism. Through it all, what vexes film scholars, especially critics, is how style, content, auteurism and culture clash and miss each other in Tyler Perry’s films. Understanding Perry now is crucial, especially as he embarks into new cinematic territory, most notably in next year’s adaptation of Ntozake Shange’s For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf.
Are Tyler Perry’s movies “bad,” and, whether yes or no, why should we care?
If we believe Metacritic, and I think the site has a lot of merit, the short answer is: yes, Tyler Perry’s movies are bad. His average Metacritic score is 46.5, and it’s remarkably consistent. Perry’s films rest firmly between 40-60, Metacritic’s “so-so” range. He never goes above it, and only once has he gone below it. It’s clear (white) critics are divided, but mostly confused. Sure, he has perennial advocates, most notably Entertainment Weekly. But more “serious” publications like the New York Times appear startlingly ambivalent. The Times‘ review of Why Did I Get Married Too claims: “…it’s a Tyler Perry movie, with a little something for everyone, as long as you’re not expecting too much.” Neither do critics, it’s clear.
Tyler Perry is important; that’s obvious. What isn’t so obvious is if we should take him seriously. How do we even evaluate Tyler Perry? Who is Tyler Perry?
I’m going to propose four ways to evaluate Perry, ending up on the one I find the most useful: style, theme, marketing and culture. Perry is phenom, and he is neither savior nor demon.
Read the Full Essay @ Televisual
by Aymar Jean Christian
Watching a Tyler Perry movie is a strange and ecstatic experience. Perry’s desire for shenanigans, inanity and heightened emotions always makes for an entertaining evening. But his films are in a strange in-between space: between melodrama and traditional drama, between alternative cinema and Hollywood style, and between black authenticity and pure elitism. Through it all, what vexes film scholars, especially critics, is how style, content, auteurism and culture clash and miss each other in Tyler Perry’s films. Understanding Perry now is crucial, especially as he embarks into new cinematic territory, most notably in next year’s adaptation of Ntozake Shange’s For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf.
Are Tyler Perry’s movies “bad,” and, whether yes or no, why should we care?
If we believe Metacritic, and I think the site has a lot of merit, the short answer is: yes, Tyler Perry’s movies are bad. His average Metacritic score is 46.5, and it’s remarkably consistent. Perry’s films rest firmly between 40-60, Metacritic’s “so-so” range. He never goes above it, and only once has he gone below it. It’s clear (white) critics are divided, but mostly confused. Sure, he has perennial advocates, most notably Entertainment Weekly. But more “serious” publications like the New York Times appear startlingly ambivalent. The Times‘ review of Why Did I Get Married Too claims: “…it’s a Tyler Perry movie, with a little something for everyone, as long as you’re not expecting too much.” Neither do critics, it’s clear.
Tyler Perry is important; that’s obvious. What isn’t so obvious is if we should take him seriously. How do we even evaluate Tyler Perry? Who is Tyler Perry?
I’m going to propose four ways to evaluate Perry, ending up on the one I find the most useful: style, theme, marketing and culture. Perry is phenom, and he is neither savior nor demon.
Read the Full Essay @ Televisual
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