All Critics (31)
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Top Critics (10)
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Rotten (21)
The result is an overlong, flat movie in which he's hitting his "women as victims" theme a bit more lightly, but which lacks an edge and does nothing to keep us from guessing the ending, pretty much based on the title.
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.
Good Deeds, with its Frank Capra-gone-Good Will Hunting title, is lucky to have Thandie Newton, easily the most gifted actress ever to have starred in a Tyler Perry movie.
... smoothly entertaining. Eventually, though, Perry is undone by his own deft clichés, and he doesn't know when to stop ...
In terms of Perry's oeuvre it's surprisingly light on the cheesy melodrama.
It's in the upper half of Perry's filmography, at any rate, both in terms of conceptual rigor and execution.
Tyler Perry is no Douglas Sirk.
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.
An entertaining film with Perry in the lead, but the acting honors are stolen by the supporting cast
A ridiculously redemptive finale negates almost all of the preceding dramatic tension and resurrects a cloying Richard Marx chestnut to boot.
'Message' movie lacks humor to draw in teens.
Good Deeds has a Hollywood gloss very much in keeping with its San Francisco settings and attractive cast.
[Tyler Perry's Wesley] is Prince Charming for a prospective audience of women who are less enchanted by rippling abs than by kindness and responsibility.
Perry's considerate plotting is deliberate, perhaps even overlong, but with an attuned sense of people's evolving feelings and relationships.
Far more interesting in the context of his filmography than it is to actually watch.
Drowning in tedious exposition, much of which is devoted to affirming the obvious.
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