A faithful wife (Taraji P. Henson) tired of standing by her devious husband (Lyriq Bent) is enraged when it becomes clear she has been betrayed.
Lionsgate and Tyler Perry Studios present, a Tyler Perry Studios / Lionsgate production.
Film Review: ‘Tyler Perry’s Acrimony’
Taraji P. Henson does her specialty — a woman scorned — but is it the heroine, or Tyler Perry’s movie, that has borderline personality disorder?
In “Fatal Attraction” (1987), the thriller that brought a new kind of possessed feminine rage to the screen, the Glenn Close character — a scorned Medusa — often did things that looked crazy; she stalked and terrorized, she flashed her demon smile, she boiled a bunny rabbit. Yet there was a core of furious sanity to her lunacy. She’d been seduced and betrayed, and she stood in for all the women who had ever felt used in that way. She may have snapped, but on the movie’s terms she’d earned the right to go off her rocker. READ MORE
‘Acrimony’: Film Review
Taraji P. Henson plays a woman determined to get revenge on the husband she thinks betrayed her in Tyler Perry’s thriller. It may be hard to believe, but Tyler Perry’s dramatic movies are actually worse than his comedies.
For evidence, look no further than Acrimony (or Tyler Perry’s Acrimony, if you care to indulge the branding), which could be considered a psychological thriller except for the fact that none of the psychology rings true and there are absolutely no thrills. There are unintentional laughs, to be sure. In abundance. But the film is so ridiculously overwrought that it makes the Madea films look subtle by comparison. The filmmaker’s loyal fans will no doubt show up in droves, but if the audience’s cackling at a public screening is any indication, word of mouth will be less than stellar. READ MORE
In ‘Acrimony,’ Taraji P. Henson Endures Marriage and Script Woes
“Hell hath no fury,” reads a tagline on a poster for “Acrimony,” and at first glance, the latest sermonizing melodrama from Tyler Perry appears to be the story of how a scorned woman worked up the courage to leave her exploitative, untrustworthy husband.
The upshot is a good deal plottier, though, and the message less universal. The moral of “Acrimony” seems to be: Leave a bad man, especially one who cheated on you before marriage and leeches off your financial resources — unless he has poured his life into the dream of inventing a self-recharging battery, in which case the bonds of matrimony are sacrosanct and no sacrifice is too great. READ MORE