Reseñas de la crítica

There is no doubt that Straw is crowded, with the writing trying to pack in an extreme variety of ideas that are usually on-the-nose and sometimes disruptive... [but] Ironically enough, it is the combination of the kitchen sink effect and heavy-handed simplicity that paves the way to Straw's ability to hit all the right punch-in-the-gut notes.

Sherri Shepherd and Teyana Taylor are also both quite good as women who recognize in Janiyah a “there but for the grace of God go I” situation as they try to give this story an acceptable outcome. The movie has a wild, enveloping conclusion that may be a bit far-fetched for some, but it's anything but grasping at straws.

“Straw” is hardly Perry at his most indulgent — last year’s sudsy thriller “Divorce in the Black” was 143 minutes long — yet he still apparently can’t resist shoehorning in every idea that comes to mind... Nonetheless, “Straw” succeeds overall...

“Straw” has all the feels it wants and little of the art it needs. But there’s nothing to suggest Tyler Perry would have it any other way.

Perry, an unapologetic purveyor of melodrama, mercilessly teases the tension... The ending is perhaps too twisting for its own good. But Henson — so deeply committed to her character’s emotional cratering — still makes us care.

Straw isn’t the worst Perry film, but it suffers from the same problems that plague all of his projects. The narrative is chock full of heavy-handed metaphors, fussy plotting and strained drama. The best parts of the film can be attributed to Henson, whose performance imbues some of the most melodramatic beats with some genuine pathos.

Straw is one of the better films on Perry’s grade curve. The pacing could be better for what is ostensibly a 105-minute thriller. The day-night transitions in particular are wild, and again the rain comes out of nowhere. But Straw doesn’t meander as much as Perry’s other productions. (Looking at you, Duplicity.) It’s not soapy or camp either. There’s melodrama, sure, but Straw makes you take it seriously – and a lot of it is a credit to the actors playing it straight and, possibly, getting a few extra takes to refine their performances (weird flex, I know).