I cop to laughing out loud numerous times, and I was captivated by Vianne’s big “what’s good for the goose” style speech at the end. If “A Madea Family Funeral” is indeed the final “Hallelu-YUHRR” for Madea, it’s not that shabby an exit.

A Madea Family Funeral isn’t good, exactly, but it’s Perry good. It combines weaponized comedy and sexualized soap opera in a way that defuses all shame.

What Perry lacks in filmmaking rigor — like its predecessors, “Family Funeral” is a bit of a mess, formally and technically — he makes up for in generosity. The movie is the usual plateful of low humor and high melodrama, in no particular hurry to make its way through a busy plot.

If writer-director-star Tyler Perry makes good on his threat to make A Madea Family Funeral the final film featuring his larger-than-life comedic heroine, then Madea will going out with a whimper and not with a bang, even by Perry standards.

Wherever you find yourself in the Perry equation, Medea herself deserves a final high-five. Perry hints that she may come back in a younger version, not played by him. But Medea will never be the same without her creator. In A Medea Family Funeral, she hosts a memorial service that defines the term hellzapoppin. And Perry correctly and adoringly gives her the last word in which she lets all the women have for letting any damn man abuse them. Hallelujah, sister!