Cast: Tyler Perry as Brian/Madea/joe, Cassi Davis as Aunt Bam, David Mann as Mr. Brown, Tamela J. mann as Cora, Diamond White as Tiffany, Xavier Smalls as Zavier.

Written By: Tyler Perry

Directed By: Tyler Perry

Notable Producers: Tyler Perry

Original Score By: Jongnic Bontemps (Transformers Rise Of The Beasts)

Studio: Netflix

Release Year: 2025

Rated PG-13 for some language, crude/sexual material, drug use, and some violence.

Runtime: 102 Minutes

Audio Description created by:

Written By:

Narrated By:

What Is it? The 13th film featuring Tyler Perry’s Madea character sees Brian (Perry) find out his daughter (Diamond White) has a new boyfriend, and they’re already planning to get married… in two weeks. They want a destination wedding, and since his recovering addict ex-wife has married into money, he feels pressured to pay for the whole thing. And they bring along all of the caricatures. Brian is also suspicious of this new future son-in-law.

What Works: Some people earned money from this, that aren’t just Tyler Perry, or the executives at Netflix. I’m gonna focus on all the lesser known cast, the crew, and maybe even regular people helped if Perry shot any of this on location and not on his studio lot.

What Doesn’t Work: All of it. I don’t want to seem like someone who just lives to throw Tyler Perry films down the garbage chute, but this film is awful. It’s easily the worst thing he’s ever directed. It’s incompetently written, he’s bored continuing to act as Brian is even phoned in as a character, and he assumes his audience has no taste. It isn’t just that it isn’t funny, it is truly that it is really poorly written.

Brian has to pay for the wedding, for his daughter, but the film focuses on him having to fly out all of these old folk. His daughter apparently has no friends, no bridesmaids. She doesn’t hang out with them. She’s just trapped by this gallery of misfit bad ideas Tyler Perry keeps accumulating.

Brian is a prosecutor, and at some point in the film will tell his future son-in-law that he just wants the truth. He’s out here to give young black men a break. but at the beginning of the film, he’s abusing his file to look for a criminal record, and when he can’t find one, he suggests checking out the FBI.

The film ends with Brian dead. this is a comedy, and the final shot of the film is Brian seeing the final bill for this destination wedding, and passing out. Except he isn’t just out from fainting, his new son-in-law is performing chest compressions as the camera cuts out. hilarious.

the comedy supposedly comes from these characters like Madea and joe, but all they do is just ramble, often repeating themselves as if repetition makes the joke. They go places like they’ve never been in public before. The airplane sequence isn’t funny, it’s troubling. it is troubling because this is the representation Perry chooses to bring for the black community, that the black elders, who in previous films gave sage advice, literally cannot figure out how to be on a plane. Then, even though the wedding is two days, they spend most of the movie racking up cartoonishly large amounts of “charge it to the room”. For a guy who came up out of these Church plays, he abandons that, as joe basically ends up paying women to spend time with him.

Tyler Perry directed five films in a calendar year. This was released day and date as Divorce In The Black the previous year. Add to that the Six Triple Eight, Duplicity, Straw, and now this, and he put out five films in a full date-to-date year, without counting any of his work as a producer for shows like Beauty In Black. If you see your work as no longer being art, and more of an obligation to accumulate a body of work, you are bound to suffer. This film suffered. The direction is lazy, the actual script is probably just a bunch of cues for characters to mumble incoherently, and a plot that should feel fun ends up being some horrible rendition of taking Perry’s new Beverly Hillbillies on the road.

In Perry’s first film, diary of A Mad Black Woman, he messed up a serious plot with his big momma’s House interpretation. Then he just kept doing it. but even in that first film, Madea is an actual character with advice. people actually asked her things before. She’s not even used to that effect here. she’s a shadow of the already unnecessary character she once was. The best and only thing Perry can do now, is let her die.

Audio Description: Even the audio description was below average. Perry’s films typically have excellent audio description, but his characters here seemingly never shut up, so audio description is more spars than usual. I actually remember Mea Culpa having some great moments, and even Divorce In The black has a scene in it tht is still memorable. I suppose thanks for describing the scene where Madea runs through a plate glass window like she’s never been outside before. Or, joe getting tackled on the plane on the way to using the bathroom… so he uses the bathroom. Instead of giving the AD team good stuff to work with, they’re stuck with terrible sight gags.

Why You might Like it: I find this impossible to love, but your tolerance for Madea will allow you to sit through this more. I refuse to believe anyone, even a hardcore Perry fan would call this either his best film, or his best Madea film.

Why You Won’t Like it: because it might be the worst film of the year.

Final thoughts: Netflix often pushes out content for the sake of having content, and Perry follows the same model. But at some point, his direction is going to be so atrocious, so incredibly sophomoric, he will have a hard time attracting the occasional Taraji P. Henson or Kerry Washington, and will find himself stuck with actors whose body of work is strictly on the Tyler Perry lot. This film should be a wake up call for him, before he becomes the very type of person he loves to parody.

rotten: 1.0/10