Why Did I Get Married Too 2010

Mike Hale, New York Times: Worth mentioning is the queasy dynamic in which the male characters' violent impulses are condemned in theory but, when acted on, seem to be implicitly excused, or at least overlooked. Read more

Lisa Rosman, Time Out: Burdened with a bevy of unlikely plot twists, this is less a movie sequel than the latest installment in a big-screen soap opera. Read more

Sam Adams, AV Club: Perry's films are shapeless, but they're crammed to bursting with melodramatic twists, the kind that make the audience gasp as they chuckle. The movie's like an old sofa, overstuffed and misshapen, but so familiar that it gives comfort all the same. Read more

Wesley Morris, Boston Globe: If Perry's cinematic vision remains less than 20/20, his sagacity gets stronger by the movie. Read more

Andrea Gronvall, Chicago Reader: Tyler Perry grounds this sequel to Why Did I Get Married? in his trademark blend of comedy, soap opera, and down-home southern sentiment, though he lets up a little on the moral proselytizing, which aids the digestion considerably. Read more

Lisa Schwarzbaum, Entertainment Weekly: Terribly shot and crudely assembled. Read more

Michael Ordona, Los Angeles Times: Not only is Perry in tune with his audience as always, he's unquestionably growing as a cinematic artist. Read more

Martin Tsai, Newark Star-Ledger: Perry sticks with the pedestrian shots and a Lifetime network aesthetic. He doesn't even take advantage of the film's exotic Bahamian setting. Read more

Elizabeth Weitzman, New York Daily News: It's nice to have things we can rely on in this unpredictable life, and among the most reliable of all are Tyler Perry movies. Read more

Tom Huddleston, Time Out: It becomes clear why Oprah is such a huge Perry fan. Read more

Peter Debruge, Variety: Married offers a positive, if melodramatically heightened, portrait of upper-middle-class African-American life, one broadly appealing enough to satisfy even the Nancy Meyers set, if only they'd give it a chance. Read more

Jen Chaney, Washington Post: [It] plays like an empty but diverting beach read. Your brain recognizes that the dialogue, for example, doesn't come from any place that remotely resembles relationship reality. Read more