Acrimony: Taraji P. Henson Shines in a Flawed Narrative
Directed by: Tyler Perry
Starring: Taraji P. Henson, Lyriq Bent, Crystle Stewart
**Rating:** ★★☆☆☆
Taraji P. Henson deserves better. Having proven her acting prowess with award-winning roles in Hidden Figures and the TV series Empire, she now takes on the challenging role of Melinda in Tyler Perry's Acrimony. Unfortunately, despite her powerful performance, the film itself falls short, marred by clichés and muddled messaging.
Acrimony opens with the definition of its title—bitterness and anger—setting the tone for the film. After a brief and stilted court scene, we meet Melinda (Henson), who recounts her story through a voiceover while smoking and speaking directly to the camera, as if to an unseen psychiatrist. She narrates her turbulent relationship with her ex-husband, Robert (Lyriq Bent), a man who squandered her love, money, and her mother’s home on his scientific project. Just as they hit rock bottom, Robert's luck changes, but Melinda's rage festers, consuming her piece by piece.
Henson, familiar with Perry's dramatic style from previous collaborations like I Can Do Bad All by Myself and The Family That Preys, fully embodies Melinda's volatile mood swings. She transitions from cold and calculating to fiery and unhinged with ease. In one standout scene, Melinda's fury is palpable as she sits, legs crossed, smoking a cigarette. The smoke surrounds her like a visual representation of her inner turmoil, making it clear that she is ready to explode at any moment. Henson's portrayal of a scorned woman is compelling, and we’re meant to empathize with her quest for revenge, albeit to a limited extent.
Perry, known for his morality plays, attempts to convey a message about the dangers of unchecked rage and obsession. However, **Acrimony** falters in delivering a coherent moral lesson. The film introduces the concept of Borderline Personality Disorder during a court-ordered therapy session but quickly dismisses it, favoring melodrama over a nuanced exploration of mental illness. This oversight undermines the story, leaving the audience unsure whether to sympathize with or condemn Melinda.
The film's production values further detract from its impact. A purple filter gives many scenes a washed-out look, and my screening was dimmed by a 3D lens left on the projector, making it difficult to see important details. In one instance, a significant check shown on screen was so blurry that someone in the audience asked if anyone could read the amount. The low-budget feel is evident in the poorly executed green screen effects and the under-rehearsed performances of some actors. The excessive use of drone footage of Pittsburgh’s waterfront feels more like a travel ad than a storytelling device.
Ultimately, Acrimony struggles with its internal conflict. Are we supposed to cheer for the wronged woman or pity the unlucky man? The movie doesn't seem to know. Perry's harsh treatment of Melinda feels excessive, especially if she is indeed mentally ill. This approach comes across as cruel rather than enlightening.
Despite the film's flaws, Henson's performance is a beacon. She elevates the material, making it watchable and occasionally gripping. However, the film’s inconsistent tone, lackluster production, and unclear message leave much to be desired.
Acrimony is a missed opportunity, showcasing Henson's talent in a story that doesn't quite know what it wants to be. Fans of Henson will find moments to appreciate, but the film ultimately falls short of delivering a satisfying narrative. Here's hoping Henson's next project allows her to shine with the support of a stronger script and direction.