Dear Tyler Perry

Save yourself $12.50 and just watch the trailer...

Now, I've never been one to chastise or berate another for their artistic work. That's just hating. Yet, at the same time, I'm well within my rights to give my critical analysis of a work. That said, there is one body of work that lately has drawn all of my ire, and that is you, Tyler Perry movies. Since 2005, when 'Diary of a Mad Black Woman' hit the silver screen, I've been privy to your taking over of black cinema (if there is such a thing at this point). Tyler, my problem with your movies stems from one statement: THEY ARE ALL THE SAME. Whether based in Atlanta, Chicago, NYC or Bumblef*ck, Colorado, all of them follow a somewhat similar storyline:

Act 1: Everyone is happy and reminiscing about a theme (marriage, family, unity, etc.), though there's a bit of tension.
Act 2: Some random family member, friend or closet skeleton makes itself known. The family or group of friends act accordingly depressed.
Act 3: One of the women is being abused, treated badly or misunderstood by her overly masculine, chauvinist and dim-witted husband. The skeleton from Act 2 rears its ugly head and reminds everyone of the true meaning of the theme from Act 1.
Act 4: The woman meets a lowly, yet caring, kind, charming, smart, and supportive black man who happens to be single and takes a liking to her.
Act 5: The man and woman get married. A fat female relative provides comic relief. The man from Act 3 gets beat up or run out of town by fat female relative.
Act 6: Everyone eats soul food and dances to R&B from the 70's and 80's.

The End

My question is simple: How did Tyler Perry write and direct 9 movies using that formula? At some point, didn't he think to dig into another recess of his mind to find a different premise? All of you TP movies are more transparent than the plastic wrap on your DVD cases. The characters are transparent, with each person taking on at least one negative characteristic of black cinema, be it ignorance, adultery, drug use, wrath, or what have you. Even worse is your portrayal of black men. In one of your movies, there are three types of black men: A) the well-meaning, but aloof husband, B) the adulterous, abusive, chauvinistic, uber-masculine husband, and C) the supportive, understanding, charming (maybe on the down-low) bachelor. If one were not to watch one of your movies, the male roles can be summed up as such: C replaces B in an abused woman's life, while A watches and provides comic relief. And that is the peak of black cinema today. (crickets)

I know in today's world, it's great to see you, a black director, producer and writer, gaining numerous accolades (and the 5th biggest paycheck in 2009) for your work. But where do artistic integrity and variation come into play? Your movies have such positive direction, but do the job in such a negative fashion. 'Why Did I Get Married Too?' was a $12.50 snore and borefest by most semi-knowledgeable viewers. The trailer essentially told the whole story, which isn't saying much. Tyler, it's not that I think you should stop making movies and TV shows. It's that I think you should dig deeper into the gamut of black personality and character to make a movie that's as uplifting in its delivery as in its theme and soundtrack. It goes without saying that you'll probably be raking in another check from this last movie as you read this. Just know that the leanings and wallets of black people are as fickle as one of the female characters in your movies. Write, direct & produce accordingly...