Even the die-hard lovers of tireless Tyler Perry sometimes want him to slow down a little to focus on quality rather than quantity. But Netflix's feature "Straw" has a culturally pulsating urgency that elevates it to his usual comedy and dramatic potting agent, which is flawed. Single mothers starring Taraji P. Henson, are filled with more crises than women can withstand in a day - leading to hostage situations - "Dog Day afternoon" - "Straw" in writers and directors - directors and producers familiar shortcomings.

It's full of plot creativity, history and nose messaging, and piles up so much. However, breaking the comel's return for this ordinary heroine is a kind of accumulated anger, especially tuned for our political moments, when many Americans seem to be social institutions no longer pretending they serve any citizens below the narrow economic elite. Thus, her collapse has the power of catharsis, making Perry a clumsy allegations of dramatic impulsiveness. "Straw" is too confusing to do "good", but it has painful relevance and is effective.

Within 20 minutes, Janiyah (Henson) arrived at the screams of the camera of Refter-hast-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-thou-th. In a brief range since waking up, almost all the possible bad things happened to her: she suffered mistreatment, was the victim of a road cycling accident, if her car was seized, lost a much-needed supermarket job, saw her asthma daughter, Gabby Jackson, taken away by child service and sold Tardy Alterments Tardy Enterty from their Dingy Alterments. She returns to a ruthless boss (Glynn Turman) who, because she still owes the salary she is on the middle of the armed holder of two deaths - it's not her fault, but it's certainly that's the case for the police.

So far, she has gone beyond rationality and returned to a bank she had visited before, believing that if she could only cash the checks, the world would be right again. But her luck was good: the staff there took over Janiyah's hysterical manner (and the pistol of the robbers she held), which was also a firm thing. In a quick succession, the entrance was locked, triggering a silent alarm, and the lifeless squad car pulled upwards and screamed in the strip mall parking lot outside. Before she had time to clarify the issue, the TV monitor in the bank hall showed live news reports, attributed her to the perpetrators of the so-called hostage crisis, which the entire city is watching.

It's all so busy that you're afraid that "straw" has shouted to the maximum extent, tears and panic before the quota of quota has passed. This put a huge burden on Hanson, working hard to maintain a role with his best efforts, and his average suffering raises the level of distress to 11. There are also a large number of supporting characters, many calling for a fight against hostile harsh notes. She could hardly rely on friends or family ways, and Janiyah had few allies in her life. When she was suddenly seen as a dangerous criminal, the only observers willing to see Snap's judgment were branch managers Nicole (Sherri Shepherd) and Det. Teyana Taylor, a policewoman, became the chief negotiator.

Everyone else thought she was the worst, especially a grumpy teller (Ashley Versher), who undermined the efforts of the peace resolution, and then the FBI force leader (Derick Phillips), who intended to last a gun. Adding to more anxiety is the belief that Janiyah carries bombs, when in fact, the flashing lights and beeps are a kid’s school project. Another headache for authorities was that a camera phone inside the bank captured her upset monologue, explaining why she was here - she was played on local TV and attracted a group of protesters outside. (This development emphasizes the fact-based "dog day" 50 years ago, which could be an inspiration.)

"Straw" is hardly Perry's most indulgent -- last year's Sudsy thriller "Black Divorce" was 143 minutes long -- but he's obviously still irresistible to resist all the ideas. This makes the film look like it was outdated early before it could get into a stalemate in the bank. It then again makes the narrative scale more disturbing at the end, first with a significant distortion that invalidates most of what we’ve seen before, and then with intentionally deceptive sequences of action. These egos may work in different scripts, but they feel very unpaid in the dangers of already being filled with manual injustice and fatality.

Still, "Straw" has been successful overall, as we don't necessarily need to find Janiyah's almost ridiculous dilemma completely believable. It can be considered an exaggerated encapsulation of the pressure cooker who lives every day like her. She is often seen as lazy, dishonest or just not favoring her position…nothing else is available at work for two minimum wage jobs, which is without health insurance, which means she can’t afford all the medications her daughter needs. The permanent debt cycle of poverty means she can’t improve their lives by returning to nursing school, either.

As the elderly bank client and sprawling Isabella (Diva Tyler) points out: “People don’t know how expensive poverty is.” When again telling her that she should somehow suck it up, Janier herself lamented, “Black women always have something to overcome.” “Straw” may be hyperbolic and bulky, but it’s still punched enough, and it’s a challenge from “North” to “haves”: you Try to live this way and see how easy it is to improve yourself.

Perry's latest work is shot in Georgia as usual, one of the terms he has the best at technology and design, and photographer Justyn Moro and editor Nick Coker are particularly solid. His scripts may go over the top, and the usually skilled cast (which also includes important parts of Sinbad, Rockmond Dunbar, Shalet Monique, etc.) vs. its over-the-top coping. Ultimately, the director puts his top premise together enough to achieve a certain influence, and is equally effective and typical.