If the movie is a mess, it's a purposeful mess, cannily, if not artfully, pushing all the right buttons to ensure Perry will be back for another round.

Though he plays two other roles, Perry only really cuts loose when he dons Madea's housecoat, turning her into a devilishly funny voice of reason. Likewise, the movie tenses up when she's offscreen, becoming the sort of moralistic soap opera we've seen from Perry before.

Madea's physical comedy is loud enough to wake the dead, but its drama is just as excessive. In a neat bit of economy, Perry stages a wedding that doubles as a breakup, and triples as the villain's crowd-pleasing comeuppance. Now that is some serious multitasking.

It's a tale soggy with the kind of race/class lessons that Madea, the director-star's battle-ax alter ego, doles out far more handily (and entertainingly) in a single church-lady-from-hell zinger.

Wildly uneven effort, which is notably more strained and slapdash than such earlier efforts as "Madea's Family Reunion" and "Tyler Perry's Meet the Browns."