Film Review: Acrimony

Acrimony is a film at war with itself. On one hand, it’s a film that wants to explore the nuances of anger, specifically black, female anger. Society tells them to bottle themselves up, lest they be the clichéd “angry black woman” stereotype, invalidating the very real feelings of individuals who might have perfectly understandable reasons to express themselves in ways that might seem hostile from a distance. However, alongside this, writer/director/producer/but-not-starring-in-this-one, Tyler Perry is also very interested in making what is essentially an homage to 90s erotic thrillers, stories that are often about vengeful, manipulative, psychotic, and – in some cases – downright evil women.

So, while the audience begins the film understanding Melinda’s perspective (Taraji P. Henson), as she narrates her story with her now ex-husband, Robert (Lyriq Bent). She lays it all out in a way that makes you empathize with her as she talks about his past infidelity and the small red flags in their relationship that seem obvious to her only in hindsight. Though, after a while, it becomes clear the kind of story Tyler Perry seems far more interested in telling, and the film goes straight up bananas from there with no turning back. It leaves us with a film that has no one worth rooting for, and no substantial point being made.

Taraji P. Henson is no stranger to Tyler Perry, as she was also in The Family That Preys, and I Can Do Bad All By Myself, and we’ve also seen that she is a more than capable actress in films like Hustle & Flow, Hidden Figures, and the TV show, Empire. She’s got a magnetic screen presence, and the ability to call someone a “bitch” like no one else. She is very much elevating the material here, and if it wasn’t for her, this whole film would fall apart. Sure, other actors in the film like Lyriq Bent, Crystle Stewart, Ajiona Alexus, and Danielle Nicolet are solid enough. But it really is Henson who breathes life into the film, bringing a believability to moments of vulnerability, moments of tension, moments of levity, and moments of pure rage. Frankly, she was too good for this.

Now, if you want trashy entertainment, you’re sure to find it here. I found myself giggling at some of the ridiculous plot turns, and shocked when I realized that the film has pulled the rug out from under me, in terms of what kind of movie it was. There’s enough here to keep you engaged, especially since Henson is effortlessly carrying it on her shoulders. Plus, as a director, this might be Tyler Perry’s best work, and the low production values aren’t quite as obvious as they typically are in his films (dat green screen tho). I would go as far as to say I had a good time in the theater watching the film. However, it’s not a film that I can really recommend. It doesn’t totally work, it’s thematically muddled, and it’s treatment of mental illness is a skosh problematic. Taraji P. Henson’s performance made it worthwhile, but only in a superficial way. She’s done better before, and she will do better again.