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Storyline
Dr. Patricia Agnew, a psychologist, has written a best seller about marriage: hers and those of three other couples who together take a week's vacation each year to ask themselves, "Why did I get married?" It's time for one of those weeks, and all four relationships are strained: Patricia and her husband Gavin have the shadow of grief between them; Terry believes that Diane has abandoned him for her work; Angela, who's built a successful business, belittles her husband Marcus, who works for her; Mike is cruel to Sheila, his religious, overweight wife. During the week, each person's secret comes out. Will these marriages survive? Written by
<jhailey@hotmail.com>
Plot Summary
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Plot Synopsis
Taglines:
... Well that's a big mystery
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Details
Release Date:
12 October 2007 (USA)
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Also Known As:
Tyler Perry's Why Did I Get Married?
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Box Office
Budget:
$15,000,000
(estimated)
Opening Weekend:
$21,353,759
(USA)
(12 October 2007)
Gross:
$55,184,721
(USA)
(7 December 2007)
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Company Credits
Technical Specs
Aspect Ratio:
1.85 : 1
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Did You Know?
Goofs
If Diane is a top litigator at her law firm, then she wouldn't be a defense attorney in a criminal/murder case.
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Quotes
Patricia:
I love you more than all the words in all the books in all the world.
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Crazy Credits
Special Thanks to: Bishop T.D. Jakes (for the "80/20 Rule")
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Connections
Remake of
Why Did I Get Married? (2006)
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Soundtracks
No One Remains at Home
Written by
Jay Weigel See more »
You have to credit Mr. Perry for presenting to us what we so rarely get to see in American film; upper-class, professional African-American couples working through real-life relationship problems. Unfortunately, it's execution leaves a lot to be desired. Though Jill Scott turns in a spectacular performance, and Malik Joba and Tasha Smith are solid, the performances are uneven at best. It's a classic morality tale with more melodrama to fill an afternoon's worth of soap operas. Some of the characters are far too one-dimensional to be credible, including the absurdly sadistic Mike, and the nearly as absurd (and conveniently single) knight in shining armor, Sheriff Troy. There's something oddly antiseptic about the film. Even the arguments seem neat and clean, with well-defined in and out points. Sometimes it is shot like a film, sometimes (with awkward stage-like blocking), it is shot like a play being filmed in a theater proscenium. The screenplay (and direction) has some gaps of logic, but even more egregious is its exposition, which could be held up as a lesson to any aspiring screenwriter on how NOT to write it (eg, "Did you ever think we'd all turn out like this? Diane's a lawyer, I'm a doctor, you're a real estate mogul"). Unfortunately, this type of sloppy exposition abounds throughout. Realism and subtly take a vacation on this one, however, it's still a pleasant, if overly-simplistic, morality tale that's likable enough.