‘Tyler Perry’s Straw’ Review: Taraji P. Henson Plays a Woman Well Past the Verge of a Nervous Breakdown

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As a dedicated cinephile, I’ve found myself occasionally yearning for Tyler Perry to pace himself a bit, to ensure quality over an abundance of projects. However, the Netflix feature “Straw” stands out from his typical repertoire of comedies and dramatic potboilers, despite its flaws. In this film, Taraji P. Henson portrays a single mother grappling with more crises than one woman could face in a day, culminating in a tense hostage situation reminiscent of “Dog Day Afternoon”. While “Straw” bears the familiar shortcomings of its writer-director-producer, it possesses an urgent cultural relevance that sets it apart.

The storyline is filled with convenient plot devices, dramatic exaggerations, and blunt messaging, making it seem overly complex. However, what pushes the protagonist beyond her limits in this situation resonates strongly with our current political climate, where many Americans feel that societal institutions no longer serve anyone outside of a privileged economic class. Consequently, her emotional breakdown carries a strong cathartic impact, overshadowing Perry’s less refined narrative choices. “Straw” may be chaotic and not conventionally ‘good,’ but it strikes a raw nerve due to its relevance, and it manages to work effectively.

In a span of twenty minutes, Janiyah (Henson) reaches the point where she screams at the camera overhead, invoking the question “Why have you forsaken me, God?” Since waking up, an overwhelming series of unfortunate events has befallen her: She’s endured various petty mistreatments, been involved in a road rage accident, had her car seized, lost a crucial job at a supermarket, witnessed her asthmatic daughter Aria (Gabby Jackson) being taken away by Child Services, been evicted from their shabby apartment due to late rent payments. Desperate for the money she’s still owed, she returns to an unforgiving boss (Glynn Turman), only to find herself caught in the middle of a robbery that results in two deaths – although it wasn’t her fault, it appears so to the police.

Overwhelmed and beyond reasoning, Janiyah finds herself back at a bank she visited earlier, believing that cashing her check would restore order. However, fate seemed to conspire against her: Bank employees, alarmed by her distressed state and the handgun she still clutched, mistakenly thought this was yet another robbery attempt. In quick succession, they locked the entrance, set off a silent alarm, and dozens of police cars with blaring sirens flooded the shopping mall parking lot. Before she could explain her situation, a television screen in the bank lobby broadcast live news coverage, portraying her as the suspect in a developing hostage crisis that was captivating the entire city.

The events unfold so rapidly that within just half an hour, you begin to worry if “Straw” might have already reached its limit of shouting, crying, and anxiety. This puts a heavy responsibility on Henson, who valiantly attempts to maintain a role whose hardships escalate the tension level far too quickly. The story also features a large number of secondary characters, many of whom are required to sound off with hostile tones. With few dependable friends or family members, Janiyah has scant allies in her life. When she’s abruptly labeled as a dangerous criminal, only a few individuals, such as branch manager Nicole (played by Sherri Shepherd) and Detective Raymond (portrayed by Teyana Taylor), are willing to look beyond this hasty judgment. They become the primary figures in negotiating her situation.

Most people view her negatively, such as Ashley Versher, who’s often seen as an irritable bank teller, and Derek Phillips, the head of FBI forces, who insists on a violent ending. To make matters worse, there’s speculation that she’s carrying a bomb, but in reality, the glowing and beeping object in her backpack is just a school project. Another issue for authorities is that a camera phone within the bank recorded her emotional speech about how she ended up here, which was then broadcast on local TV, leading to a gathering of protesters outside. This situation seems reminiscent of the fact-based incident known as “Dog Day,” which took place 50 years ago.

As a movie enthusiast, I must admit that “Straw” isn’t Perry at his most restrained. Last year’s film “Divorce in the Black” clocked in at a lengthy 143 minutes, yet this one feels like he couldn’t help but cram every thought that crossed his mind into it. This results in an overly dramatic start, before it somewhat finds its footing in the prolonged standoff at the bank. However, it tips the balance again towards the end, first with a significant twist that calls much of what we’ve previously witnessed into question, then a deliberately misleading action scene. These elements might fit seamlessly into another script, but they seem excessively extravagant in one that’s already overflowing with emotional turmoil and life-threatening situations.

Regardless, “Straw” works effectively as it doesn’t require us to fully believe in Janiyah’s almost absurd predicament; instead, we can see it as an over-the-top representation of the constant high pressure that people like her experience daily. She is often written off as lazy, dishonest, or simply unworthy for not rising above her circumstances… despite the fact that she juggles two minimum wage jobs without benefits and lacks health insurance to cover her daughter’s necessary medications. The endless cycle of poverty means she can’t elevate their lives by going back to nursing school, either.

“Straw” is convincing because it doesn’t have to be a perfect representation of reality; rather, it shows an extreme situation that highlights the constant struggles people in Janiyah’s position face every day. She faces criticism for not overcoming her circumstances, even though she works two minimum wage jobs without benefits and can’t afford her daughter’s medication due to lack of health insurance. The vicious cycle of poverty prevents her from improving their lives by going back to nursing school too.

Go ahead, try living like this and see if you can easily improve your situation.

Filmed in Georgia once more, Perry’s latest production showcases some of his finest work in terms of technology and design. The cinematographer Justyn Moro and editor Nick Coker deliver commendable performances in this regard. However, the script might lean towards the dramatic, and while the cast, featuring Sinbad, Rockmond Dunbar, Shalet Monique among others, generally handles these over-the-top aspects effectively, their performances vary. Despite the top-heavy plot, the director manages to keep it cohesive enough to deliver a punch that remains impactful, albeit characteristic of Perry’s usual, somewhat subtle style.

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2025-06-06 10:17