A woman scorned, an all too common factor director Tyler Perry displays in some of his movies. If it’s not an angry woman, it’s someone who has a fixated grudge to uphold. Granted credit can be given for “Alex Cross,” which was surprisingly out of character for a Perry movie with the undertones of a sub-par action movie.
“This isn’t the deepest plot but compared to the usual saints -vs-sinners tales that Perry has offered up over the course of 19 feature films he’s written, Acrimony takes us to whole new levels of complexity.” (Alonso Duralde). This is a film that can be added to the list of gender bashing lies, cheating and upheaval that results in a tragic fashion.
Taraji P. Henson is the lead who plays Melinda Gayle and has featured in another Perry movie such as “I can do bad all by myself.” The pair work together again to bring a dark moo-dish character ripped off her inheritance by a husband Robert (Lyriq Bent) who by all means pushes her and family members to their limits.
His quick schemes and resilience to continue manipulating Henson into finishing her wealth over the years and unfortunate failed projects lead to his dismissal. She was once crossed by his charming ways as she gives in to love by smooth talker Robert. But his cheating brings out the rage and anger of Melinda that is held deep within
The undertone and plot are precariously written whereby forgiveness ensues and the two try to live their lives blissfully. His failed inventions and tangle with his ex-Diana (Crystle Stewart), whom eventually becomes his wife after an unwanted divorce from Henson brings about the full range of a woman scorned. From the trailer and promotion, one is capitulated in the notion that Taraji P. Henson will be devious and calculating whereby she will bring havoc and destruction. An all too familiar pattern from Perry. This performance takes you on a roller coaster of emotions, either continue watching or just switch to a cooking channel and improve your skills.
To Henson’s credit she marauds her character to new levels as a bipolar maniac stopping at nothing to get what she thinks is rightfully hers. The music in between scenes flows eloquently from moments of tranquility to despair and fueled resentment. The lighting and camera use were good in some scenes especially when luminating the transgressional changes of the Melinda when being questioned by her therapist. The persona presented is quite lucid especially from the narration placed fourth and Tyler Perry confuses the plot or is a genius with what his intentions are. There are some lackluster cringe moments that will make one feel encapsulated in the moment. The thought of someone draining all the life savings over the years and not producing any fruit for your labor can be taxing to anybody mentally and physically.
Tyler Perry definitely curtails the use relationships in everyday lives as a backdrop to where the person who loves or loved you once can be your worst enemy. Karma cannot be mentioned as an entangled precipice between Melinda and Robert. The use of Henson will definitely entertain the following Perry has amassed but Acrimony by far is non-sanctimonious in its title and versatility to enthrall its audience.