Nobody’s Fool

A complete trainwreck virtually from beginning to end, Nobody’s Fool follows Tika Sumpter’s Danica as her orderly life is thrown into chaos after her ne’er-do-well sister (Tiffany Haddish’s Tanya) is released from prison – with the sloppy narrative also detailing Danica’s online-only romance with a mysterious suitor and her ongoing efforts at staving off the advances of a friendly barista (Omari Hardwick’s Frank). Filmmaker Tyler Perry has infused Nobody’s Fool with a seriously unfocused sensibility that grows more and more problematic as time progresses, as the movie, particularly in its interminable second half, contains a surfeit of whiplash-inducing right that prevents it from accumulating any momentum and, worse yet, it generally feels like there’s nothing tangible at stake for the characters. Far more problematic is Perry’s penchant for unreasonably over-the-top bursts of slapstick comedy, with Haddish forced to deliver a nuance-free performance that’s never anything less than exasperating and exhausting (ie she’s just nails-on-a-chalkboard bad here). The love-triangle bent of the film’s final third fares even more poorly than seems possible, as Perry’s inability to craft a single interesting or convincing character makes it difficult to work up an ounce of interest in the outcome of said triangle (and it doesn’t help, certainly, that one character is revealed to be a poor choice in as cartoonishly broad a manner as one might’ve feared). The end result is an almost astonishingly terrible effort that insults the viewer’s intelligence far more often than it doesn’t, with Perry’s lowest-common-denominator sensibilities generally nothing short of shocking (ie is this the sort of material that’s made him a household name?)

* out of ****

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