Like him or not, there’s one thing about Tyler Perry no one can deny -- the prolific writer/director delivers at the box office. His recent Madea Goes to Jail grossed 41 million dollars on its opening weekend, plus Diary of a Mad Black Woman and Madea’s Family Reunion were also financial successes. This weekend, I Can Do Bad All by Myself opened at #1, bringing in 21million dollars. What Perry has to offer about Christian values, the importance of family, love, and personal responsibility to his predominantly African American audience he apparently says very well.

Perry is less successful critically. Among other things, he's been criticized for perpetuating negative African American stereotypes. Some consider his humor too low-brow, crude and unfunny. And because he tends to juggle multiple storylines that shift so radically in tone and mood, they never come together as one cohesive whole.

One fundamental characteristic of Perry’s style -- which everyone seems to agree on -- involves the way his brand of spiritually-tinged, formulaic melodrama comes with the usual cast of character types:  a troubled woman who’s lost her way; an abusive man; and a sensitive, too-good-to be true hero. Though his latest lead character April (Taraji P. Henson) appears tougher and more independent than Perry’s usual put-upon heroines, all of them share the challenge of embracing their Christian values to overcome personal problems. They learn to love and trust again.

To reinforce his message of the healing power of faith in God, Perry infuses I Can Do Bad All by Myself with rousing gospel music numbers delivered by powerhouses Gladys Knight, Mary J. Blige, and gospel singer Marvin Winans. While I’m not a fan of gospel music, I couldn’t help being moved by the inspirational energy of these performances. Music has always played an integral part in Perry films, but it usually serves as background music. In this film, the music becomes another character in the story.

Madea fans expecting to see a story featuring her antics will probably be disappointed here. The feisty, gun-toting senior citizen has very little screen time. Taking center stage instead is the story of alcoholic night club singer April, who unwillingly gets saddled with her deceased drug-addicted sister’s three children.

Perry doesn’t flinch from tackling the ugly problems of life in his movies. Issues like drug addition, domestic violence, and alcoholism represent the obstacles April must overcome. The problem? As in his previous movies, these complex issues are too easily resolved, and all the loose threads are tied up neatly into a big, bright happy ending. It’s a little too sugar coated for my tastes.

Now for the good news. Perry makes some wise decisions regarding this film. For starters, he focuses on one story, and so April’s journey builds in dramatic power because it isn’t diluted by additional, and sometimes ill-fitting, story lines. It may not be the most realistic or artistically realized story in the world, but it’s a cohesive one.

Perry’s strongest asset is his talented cast, headed by Oscar nominee Henson (The Curious Case of Benjamin Button). He made the right choice in casting this gifted  actress. While there are a few scenes in which April’s angst seems a bit contrived, for the most part Henson brings raw power to her portrayal of the troubled singer.

Still, I think the cast member to watch out for here is Hope Olaide Wilson, who plays April’s teenage niece Jennifer. Projecting an appealing naturalness which makes her character come across as genuine and touching, she avoids acting clichés and manufactured gestures. Instead, Wilson summons up craft and emotions to convey Jennifer’s deep emotional scars lying underneath her tough exterior. The tears coursing down her cheeks tell you this is a child who has survived her share of hard knocks.

Unfortunately, Perry’s comedy/melodrama formula may be wearing thin, along with Madea’s irreverent put-down humor. For Perry to grow, he needs to play a different tune, because we’ve seen and heard all this before.

(Released by Lionsgate and rated “PG-13” for mature thematic material involving a sexual assault on a minor, violence, drug references and smoking.)

Review also posted at www.moviebuffs.com.)