Doing Life 2026 Movie Review Trailer Poster

 The best way—or perhaps the only way—to enjoy a Tyler Perry movie would be to get drunk enough that you can’t tell the difference between the sofa and the kitchen.

Several distinct movies coexist within Tyler Perry’s *Doing Life*. One is about a woman trying to overcome a sexual assault she suffered at work. Another follows a woman struggling to secure a loan for nursing school. There is a love story between a single mother and an inmate—a romance severely tested by a prejudiced society. Look closely, and you’ll also find a family drama about an ailing mother and her daughters, one of whom turns out to be a selfish, scheming manipulator. Finally, there is a film about an artist whose paintings are stolen and who must fight tooth and nail for both recognition and financial compensation. A skilled director could take any one of these storylines and craft a worthy—if not exceptional—drama, full of heart and tenderness. Perry, however, is not a skilled director. He wants to give you several movies for the price of one because... why not? After all, he doesn't seem interested in leaving a lasting impression on the viewer. His main goal is simply to keep the story moving somehow, providing the audience with a bit of background noise.

Anyone familiar with Perry’s work would do well not to expect qualities like solidity, mastery, or greatness. That is why the best way—or perhaps the only way—to "enjoy" a Tyler Perry movie would be to get drunk enough that you can’t tell the difference between the sofa and the kitchen. That way, you might spend the time laughing at the clumsiness and lack of finesse in *Doing Life* rather than being annoyed by them. 

Perry is incapable of achieving something as essential as chemistry between his lead actors. In their portrayals of Anika and Carousel, Naomi Baker and Jay Reeves appear completely self-conscious. Awkward pauses occur between them, as if they hadn't been properly briefed on their entrances or hadn't had enough time to rehearse. When Carousel first encounters Anika outside the prison—without having warned her of his release or his plan to speak with her—one would logically expect Anika to be taken aback by his sudden appearance. 

Director: Tyler Perry
Writer: Tyler Perry
Stars: Naomi Baker, Jay Reeves, Tamberla Perry

Yet, her reaction suggests confusion along the lines of "What were my lines again? Let me quickly recall them" rather than genuine surprise like "What are you doing here?!" Most of the time, Baker and Reeves act as though they are receiving directions and lines through an earpiece in real time; they resemble deer caught in headlights rather than characters gradually building trust and intimacy with one another.

During dinner at the home of Carousel’s supervisor, both insist they aren't lovers, merely friends. The supervisor and his wife smile and shake their heads, and he remarks, "That’s not the energy I’m picking up here." In a way, he is right, though what he means is that he believes they are actually a couple. Anika and Carousel project a different kind of energy that seems to say, "I’m not entirely sure what tone the director is aiming for in this scene." The problem extends to the rest of the cast as well. 

When Cathy (Tamberla Perry), Anika’s mother, refers to Carousel as "the Convict," are we meant to interpret this as a sign of her hatred for him? Or are we supposed to smile at her sour expression as she spits out the epithet—like a five-year-old pouting and name-calling simply because her favorite toy was taken away? Then there are the ridiculous excuses Perry uses to manufacture conflict; For instance, having Carousel show up at Anika’s door while she’s with her mother and sisters—just to tell her his phone is broken. I mean, you know perfectly well she lives with her mom and sneaks out to see you without her family knowing. You could have used your "lawyer brain" to analyze the situation and find a more logical way to tell her about the broken phone. Here’s a suggestion: you could have spoken to her at—I don’t know—her workplace!

Oh, that reminds me: besides being a painter, Carousel is also pretty good at the whole lawyering thing. Good for him, I guess. Maybe he can sue Perry for serving us content that turns our brains to mush. Because after watching something like *Doing Life*, you just want to do nothing—purely out of exhaustion or indifference. Now, if you’ll excuse me, I’m heading to the sofa in my kitchen. Something tells me I’m becoming just as hollow as these Tyler Perry productions. Say no more.

Watch Doing Life 2026 Movie Trailer