On one hand, she mistakes Madea for a domestic named Sadie, treats "Sadie" imperiously, and threatens to get her fired. Barbara displays dual sensibilities about "colored people". However, over time, Madea helps Kate and Cindy relate better to each other and to other family members, while Joe and Kate help George become more confident, more in touch with his surroundings and people around him, and more effective in channeling his emotions. Made points out to Brian one tiny problem: she lives in an all-black neighborhood and the Needlemans are white. The Needlemans' first meeting with Madea and Joe is awkward and bodes poorly for how everyone will get along. Jake, who has a criminal past but whose father trusts that he has turned over a new leaf, is trying to recover church funds that he has invested in Needleman's company without his father's knowledge or consent, only to lose the entire investment in the Ponzi scheme. Meanwhile, Jake - whose elderly, ailing father is a church pastor who has put him in charge of the church's mortgage fund - tries to rob Madea, but fails miserably. The program relocates them to a refuge where no one will think to look for them: Madea and Joe's house in Georgia. He is being accused of spearheading the scheme and laundering funds and has to enter his family into a witness protection program. He sees his boss, who informs him that his company is a Ponzi scheme run by the mob. He gets to his office and arrives to a harrowing scene his co-workers are shredding documents and are in a state of chaos. George Needleman, a nerdy, high level CFO in New York City, promises his son that he will take him to his Saturday afternoon baseball game after he gets back from the office. The film stars Tyler Perry, Eugene Levy, Denise Richards, Romeo Miller, and Doris Roberts. The film is slapdash entertainment not meant to be further contemplated after leaving the theatre.Madea's Witness Protection is the 8th film in the Madea series. The outtake reel that accompanies the closing credits even includes an extraneous shot of Charlie “always good for publicity” Sheen (who is not in the movie) mugging for the camera while presumably visiting the set to see his ex, co-star Denise Richards. Patently false moments such as this abound thoughout this overlong film. Madea lifts grocery bags from her shopping cart to her car trunk as though they contained nothing weightier than dryer lint and then allows them to flop over sideways before closing the lid. (Perry also plays the prosecutor and Madea's grizzled brother, Uncle Joe.) The takeaway? Them white folks are sho ’nuff crazy.Īlmost more grating than Perry's modern minstrelsy, however, is his sloppiness as a filmmaker. While working to uncover the fraud, this money manager and his dysfunctional family go into witness protection in the home of the Atlanta prosecutor's aunt Madea. The veteran comic actor Eugene Levy plays a Bernie Madoff knockoff, who is the unwitting CFO of a financial fund that has been running a Ponzi scheme. Perry steers his latest film toward some racial crossover by forcing Madea – the towering, take-no-guff matriarch played by Perry in drag – to stretch beyond her own family and African-American community for the subjects of her barbs. Hitching himself to Madea's popular apron strings may be a wise business decision since the character brings in droves of fans, but it also means that Perry must take ownership of his movies' slipshod filmmaking techniques as well as their perpetuation of racial stereotypes. It's not a mark of pure vanity: This indefatigable maestro earns the right to include his name in the title – as has been his custom with most of his previous movies. He's not only the producer, writer, and director of this film – just as with most of his other movies – but Tyler Perry also plays three roles in his latest Madea outing.
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