Tyler Perry’s ‘Nobody’s Fool’ Relies On A Flawless Tiffany Haddish To Carry An Uneven Comedy [Review]

Audiences have grown to love Tyler Perry films over the director’s prolific decade-plus filmmaking career. Primarily known for his various ‘Madea’ films, the writer-director does sometimes venture off the franchise that put him on the map to tell more straightforward stories. And in his latest, “Nobody’s Fool,” Perry sadly treads on familiar PG-13 comedy territory, but is thankfully saved by yet another strong performance from Tiffany Haddish.

If not for Haddish acting at the peak of her vast comedic talents and a spirited turn from underrated actress Tika Sumpter, this film might’ve collapsed under the burden it places on itself to be edgy. Perry pushes the material as far as it’ll go (well, for a Tyler Perry movie), but still manages to get in his annual lessons about life and requisite happy ending. As one might expect, the filmmaker’s latest non-‘Madea’ outing proves a bit uneven, even if the film lands a few ha-ha haymakers.

While Perry has his vices behind the camera, to say he’s a bad filmmaker would be outrageously off-center. When he’s on (“I Can Do Bad All By Myself” and “Madea’s Big, Happy Family” come to mind), he’s sharp in his humorous writing (his best Madea quips will leave anyone’s knees weak), able to develop grounded, relatable characters and plots and mindful to ramp up the melodrama just enough to not feel too hackneyed or forced. He’s really been one of the more consistent representative stewards in comedy and drama since he started working in the business.

Perry tells stories that just don’t always get told, or tells stories we already know with people that don’t often see themselves at the center of the action. Whether film fans like his movies or not, they’re still important in the grand scheme of things (well, maybe not ‘Boo 2‘).

Perry could also say most of his movies are relatively wholesome, which really isn’t the case here. He tries to give his spin on the raunchy rom-com, and finds out this side of the genre isn’t really his true North. He piles on an unnecessarily-complex plot which diverges into a romance centered on catfishing (yes, the guys from the MTV show have minor roles), the difficult filter we apply to ex-convicts, and the here-and-there balance of a person’s right to follow their dreams in finding a partner and how they must consider another’s feelings in that process.

“Nobody’s Fool” also has Haddish interjecting with spit-fire one-liners (one revolving the 2011 comedy “Bridesmaids” demolishes), Whoopi Goldberg stopping in every now and again for a laugh and wise word, a basic look into the world of perfume advertising, an endearing nice guy turn from Omari Hardwick,and an out-of-nowhere cameo that just refuses to make clear if it works or not. There’s a lot to unpack in its modest run-time, which shows Perry still has a tendency to overwrite his stories and his characters when he tries to pack in two different genres. The romance and the comedy try to get along the best they can; it just depends on the moment if the marriage is successful.

If it weren’t for Haddish’s natural gift to elevate any material she’s given, some of the more ribald jokes would just fizzle out. One wonders if Perry himself feels a little uneasy with the switch, and if a better version of this film exists with just a few less swears and better comedic set pieces. Though, when the film is funny, it’s relentlessly so, in large part to Haddish.

You have to appreciate that, even with a role that isn’t quite where it needs to be for her on the page, she’s able to develop her fresh-out-of-jail sister Tanya into someone who carries earnest concern and little patience for sincere wrongdoing. Haddish is an empathetic comedienne. There’s a reason she’s in such high demand right now. Perry’s best moments as a director come when he clearly knows it’s Haddish’s time to run with the moment. When she gets on a roll, it’s hard to catch your breath. Though, she fades out into the third act in lieu of the plot, which hurts in the long run.

Sumpter also shines as the lead, exuding the poppy aura she brings to her performances with a growing ability to wade between the serious and silly. You wish Goldberg got more to do since it’s been a while since we’ve really got to see her sink into a memorable character, but she’s always a welcome presence, regardless.

Perry needs to let “Nobody’s Fool” be his last journey into crass comedy. He’s always going to know how to build a heck of an ensemble, but he’s just not quite as natural in overseeing this type of material. That’s not a bad thing; not in the slightest. Just lay the filthier jokes by Madea’s casket and rely on the nobler ideas and lighter laughs that helped you get to where you are. [C]