The biggest difference, beyond the fact that Tyler Perry's writing is funnier than anything here on his worst day, is that Perry's morality plays actually make sense and maintain a consistency within the arc of the story. Malcolm is pursued by a rotund security guard (Faizon Love), while Trent tries to pursue a pianist (Jessica Lucas) despite being trapped inside his mounds of make-up. There's nothing in this film that feels fresh, and virtually everything feels familiar and like it has been done previously and much, much better.
You know where every single second of this film is going.ĭirector John Whitesell and co-writers Matthew Fogel and Don Rhymer try to grab bits and pieces of a Tyler Perry style poignancy and moral-based humor, but it all falls flat mostly because this character and the scenario burned up its welcome with the second Big Momma film. Suddenly, he and his father are off and in hiding at, of course, a girls' school for the arts where Malcolm goes back into drag as a Madea style House Mother while Jackson dons the dress as the new girl on campus. Unfortunately for Trent, he nags pops one too many times and ends up witnessing a murder when he interrupts a stake-out. Malcolm intends for his son to head off to Duke University, Trent is more interested in a music career. agent Malcolm Turner, who is working a big case while arguing with his son, Trent (Brandon T. Even the most hardcore Martin Lawrence fans, all 13 of you, couldn't possibly have been looking forward to this retread of a retread that wasn't particularly entertaining the first time around. Even if you hadn't seen the abysmal trailer, just the thought of yet another visit by Martin Lawrence to this comic wasteland is enough to make someone shudder.
You cringed when you first found out that there would be a third Big Momma film.
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