Tyler Perry's Good Deeds

The melodramatic film has numerous light and comical touches, and the performances are uniformly good. The film's pace, however, has the consistency of molasses.

A ridiculously redemptive finale negates almost all of the preceding dramatic tension and resurrects a cloying Richard Marx chestnut to boot.

Whose life, Wesley asks in the movie's narration, is he living? Judging from all the sterile office and apartment space and his mile-long face, I'd say Bruce Willis's in "The Sixth Sense.''

There aren't a lot of laughs in "Good Deeds," and it could have used more of them.

An otherwise unremarkable pic that takes what feels like a very long time to unwind a drearily predictable storyline.

Good Deeds honors goodness, which isn't at all a bad thing, and it's not without moments of genuine feeling. But by the film's end, after watching a seemingly infinite number of dour close-ups of sober self-evaluation, I felt bludgeoned.

Certainly one of Perry's best films yet.

Tyler Perry has done his own good deed in bringing us Good Deeds. He doesn't need to hide behind Madea anymore.

Perry knows what he's doing, he knows what buttons to push and when, and he handles it all with supreme confidence.

Tyler Perry's Good Deeds is supposed to be a feel-good movie. Unfortunately, it takes way too long to make you feel much of anything.