Directed by Tyler Perry
Starring – Taraji P Henson, Lyriq Bent, Crystle Stewart
The Plot – A faithful wife (Henson) tired of standing by her devious husband (Bent) is enraged when it becomes clear she has been betrayed as a result of a hidden affair. After the news breaks, revenge is the game, and hell hath no fury like a woman scorned.
Rated R for adult language, sexual content, and some violence
– Henson knows in her mind that she’s far too good for a Tyler Perry movie, but nonetheless she commits herself in omitting a truly haunting and emotionally scarred performance. Taraji was clearly given no boundaries here, and despite her filmography this year leaving slightly more to be desired, it’s clear that the talented actress gives you the most return for your dollar.
– If Perry can do one thing right, it’s that he knows how to keep his audience invested. The film is narrated throughout by Henson’s character while talking to a therapist. As the film goes on, it feels more and more like she’s really communicating with those ladies in the audience who have been down this very road a time or two, making it extremely difficult to ignore something that ties so closely to their own lives.
– Continuity errors. It’s funny that while the two love interests are in high school, the female is noticeably two or three inches taller than the male, but ten years later their characters have morphed to give us a depiction of the man now being at least five inches taller. That’s a huge swing for post-adolescence.
– Jarring Green screen backdrops. There are some beautiful shots of the city engulfed in fog that seems to hint at the unforeseen troubles ahead for these characters, but anytime a character is shown in front of this area, the outline of their bodily properties is so terribly shaded that you’re constantly reminded of this cheap presentation by a director with tight pockets.
– The run time of two hours is far too long for this screenplay. This isn’t because the film is terribly paced or boring, but rather the perils of repetition that could easily use another edit in keeping it closer to that 100 minute mark.
– In addition to that repetition, the film is also prolonged by convenient plot devices that pop up out of nowhere. These scenes puzzle me even further because they often feel like they accompany a scene that is missing from the movie. One such example is a woman’s purse that shows up in our leading man’s truck, but the scene before that one the woman mentions how she refuses to be alone with him. So did she change her mind, or do purses fly all of a sudden?
– I had to check how many different writers penned this script because I refused to believe that the sharp turns in character logic were written by a single author. Much to my surprise, Perry also wrote this film, leading me to believe that he himself suffers from mixed personality disorder. Characters switch sides at the drop of a hat, and the film’s third act flies so far off of the rails that it feels like we’ve stumbled upon a completely different film all together. Just more proof of the man’s genius.
– This film is every bit as manipulative as it is morally bankrupt. If you saw the trailers, they made it look like Taraji’s character was taking revenge on a former lover for cheating on her and giving the new love all of the things that she deserved. This couldn’t be further from the truth. In fact, the last act of the movie convolutes character motivation so drastically that it almost approaches the clutches of Stockholm Syndrome with arms wide open, refusing to ever punish those who laid the groundwork for such conclusions.
– ‘Acrimony’ was made in eight days, and it clearly shows. In addition to the missing scenes that I mentioned before, much of the dialogue feels sloppily rushed and overall in a hurry to get to reach its destination without cutting to the psychology involved in spousal abuse. Any person with a shred of logic can comprehend that no sane adult would ever make these movements. On top of this, the film takes the time to visually define what Acrimony as well as other words associated with the script mean. That’s great because the only thing that can top laughably bad dialogue is an English lesson. SWEET!!!
– This is a thriller that for the most part lacks the thrills. We get one scene of action early on in the movie, then nothing until the final twenty minutes that I mentioned above. Perry as a screenwriter relies upon frantic dialogue reads by Henson, instead of the unchained Taraji that was promoted. For my money, watch the final twenty minutes. You could probably fill in the blanks as to what happened even without the rest.