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Closed Caption; Director commentary; Deleted scenes; The making of Madea's Family Reunon; Marriage Madea style; Gaither plantation; Making the music; Widescreen version; English and Spanish 5.1 and 2.0 Dolby Digital audio; English and Spanish subtitles; Trailers
Full Product DetailsDisc #1 -- Madea's Family Reunion
1. Must Be Dreaming [4:47]
2. Female Bonding [8:20]
3. Foster Mother [4:24]
4. Bride to Be [4:11]
5. Bus Date [8:17]
6. Three R's [6:18]
7. Getting Some [9:56]
8. Heart Repair [6:13]
9. Savage Talk [3:32]
10. Safe Boundaries [4:33]
11. Smart Kid [2:19]
12. Only Option [6:26]
13. The Reunion [3:07]
14. Cold Drinks [2:18]
15. Family Love [3:33]
16. Mothers and Daughters [:11]
17. What We Paid For [2:40]
18. Sharing the Love [4:52]
19. Time to Fight [1:43]
20. Unexpected Surprise [3:17]
21. Paris in Springtime [4:00]
22. On Your Heart [4:06]
23. It's a Celebration [2:36]
24. End Credits [1:43]
“I only go to church for weddings and funerals. I wonder what I’m dressed up for today?” That line would not be out of place in a John Wayne western, but it’s ominously delivered here by Madea (writer-director Tyler Perry, portraying his signature drag alter ego), who dispenses her own unique “old school” justice. Madea has cleaned up her act a bit since Diary of a Mad Black Woman, but she still delivers the sassy goods as she contends with being forced to take in a foster child with delinquent tendencies (which slap-happy Madea immediately nips in the bud). She also provides safe haven for her two nieces: Lisa (Rochelle Aytes), unhappily engaged to a prominent investment banker (Blair Underwood, cast against type and scarily effective), who beats her; and Vanessa (Lisa Arrindell), who has some very definite issues with her unsympathetic mother, Victoria (Lynn Whitfield). All this and much more threaten to disrupt the family reunion, which ultimately serves as a platform for Cicely Tyson, no less, to deliver an impassioned monologue imploring young black men and women to respect themselves and each other. “I expect more from you,” she thunders. Madea’s Family Reunion ruled the box office roost for two consecutive weeks, even though it was not screened for critics and faced competition ranging from Harrison Ford and Bruce Willis to Curious George. This is testament to Perry’s keen ability to viscerally connect with his devoted audience, by offering a decidedly unsubtle blend of melodrama, Springer-esque dysfunction, spiritual uplift, and Oprah-style empowerment. “It ain’t what people call you,” Madea counsels, “It’s what you answer to.” That’s a universal message that everyone can take to heart. Donald Liebenson, Barnes & Noble
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