I can't even hate on Tyler Perry anymore cause I have long given up hope that he will one day turn into some sort of veritable Spike Lee and actually hone his craft as a filmmaker. I would say that "Why Did I get Married" was Perry shining opus in this department, until he made this sequel and everything that seemed so sure footed about his storytelling and character development from the first movie, seem squandered for twist and turns designed more for audience gasps than for cinematic impact.
I wish I could say that "Too" was a good Perry movie, for it gives the audience exactly what it wants and is never for a second boring. But this may be because the movie is so over plotted that you have hardly a moment to breath amidst the changing locals, credited and uncredited star cameos, tacked on back stories, and subplots that have you scratching your head as to what is the character motivation for these actions.
"Too" is technically the first time that Perry has crafted a sequel, but truthfully all of his movies are sequels as they all follow a distinct formula and rhythm that has become Perry's Signature, almost to a fault. "Too" essentially is the same movie as the original as the basic plot is the exact same, a group of college friends go on a retreat every year to talk about why they got married. Tensions flare, drama ensues, everyone returns to their normal lives to find more turmoil, resolution, happy ending. Too often "Too" plays out like its trying to one up the dinner scene from the first movie where Angela's character lets that cat out of the bag about Mike's infidelity. But that scene was preceded by a clear, crisp set up and was expertly written in a way where it sent several storylines crashing into one another at precisely the right moment in the story. It was akin to seeing the characters carry a bomb around for most of the first act, hearing it tick, then explode at the most tense moment. "Too" is merely an extended train wreck which seems content with the audience rubbernecking it on the highway as we go on our merry way. We learn far less about the characters this time around, but the ironic thing is that we are giving more information about them. A lot of it adds texture to the first film, a lot of it completely betrays the characters. All of it, soap opera fodder.
I'm convinced that you can't sit through one of Perry's movies without someone talking back at the screen (his movies seem to invite such activity). Because I saw this in Glendora and the same ensued, but I had a bit more appreciation for this activity here, at least the comments made back to the screen were insightful and intelligent and gave me a chuckle. Hearing these comments was almost more entertaining that the actual film. But then on second thought, that is sorts the grand byproduct of Perry's movies, is that they become experiences in themselves despite the material. There are times when you have to look harder than others, but his movies always hold a bit of truth about people and how they operate.
So I'm going to cut Mr. Perry a break. I wish "Too" would have been the handsomely crafted, intelligent, insightful take on Urban romance and life that the original was, but at least he is employing actors that would normally have trouble getting work (this is especially true of the criminally underrated Tasha Smith and Michael Jai White). And who could ever get tired of seeing Janet Jackson on screen. I feel that her turn in "Too" gave her more to do, but little to actually display in the way of acting chops, but Janet turns a confusing character outline into a somewhat believable avatar in Patricia. Even if Perry refuses to let us know what actually makes her tick, Janet has a startling emotional arch in the film that will have many surprised.
Perry is the modern day renaissance man and a veritable one man cinematic army. But I keep wondering what his material could be in the hands of other directors like say Lee Daniels, Forest Whittaker, or Malcolm D. Lee. Or anybody for that matter that has a stronger grip on the art of film making. I can't yet say that Perry makes movies for receipts - he seems to have some genuine interest in bringing other African American tales to the screen which is admirable. But so far, he has been the pioneer of this movement and I think Hollywood is catching on. For "Just Wright" and "Death at a Funeral" are looming just around the horizon and if successful, will force Hollywood to acknowlege that thier is a market for urban cinema. Until that day arrives, we can always take comfort in Perry's down home sentiments. for if nothing, they offer a quaint and comfortable familiarity, a stepping stone per se for an era in film making that takes a more progressive approach. His movies are not designed to save the world, just entertain your socks off. At least that is a formula he gets right with "Too".
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