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Directed by – Tyler Perry
Produced by – Tyler Perry, Mark E. Swinton, Will Areu
Starring – Tiffany Haddish, Tika Sumpter, Omari Hardwick, Mehcad Brooks, Amber Riley, Whoopi Goldberg
Two things emerged toward the start of this film. To start with, the Lionsgate logo that typically presents Perry’s work had been supplanted by the “Paramount Players” logo. Second, I could have sworn the credit did exclude the now-standard expressions of proprietorship “Tyler Perry’s” before the title. I can be pardoned on the off chance that I missed them, in light of the fact that in the meantime the title shows up, Perry is indiscriminately filling the screen with forward and backward content air pockets.
The electronic discussion is between publicizing official Danica (Perry staple Tika Sumpter) and Charlie. Charlie is Danica’s online lover, a man she has never met yet has succumbed to head over foot rear areas. Charlie has a provocative voice—I trust one performing artist alludes to it as “the Idris Elba”— and he lives on a seaward oil fix whose wi-fi gathering is excessively poor for him, making it impossible to ever give Danica a live take a gander at him through Skype or FaceTime.
Charlie sounds pipe dream, yet he fills all the checkboxes on the rundown of characteristics Danica needs in a man. Also, I don’t mean a non-literal rundown, either. Danica has recorded every one of these things in a twisted respect to a rundown her mom, Lola (Whoopi Goldberg) when made when she was single. Lola’s rundown driven her to her significant other, an association Danica reveres like a lovesick enthusiast of unrealistic sentiments. Fortuitously, Danica’s organization is making an advertisement battle for a fragrance called “The List,” which accompanies an ink pen so the buyer can jot down her own inventory of sentimental requests. Since Danica and her BFF Callie (Amber Riley) are the workplace’s solitary single women, they’re given the task.
Notwithstanding Charlie, another man is competing for Danica’s heart. He’s Frank (Omari Hardwick), proprietor of the bistro in Danica’s place of business. Each morning, he gives her free espresso and a rose, neither of which she is glad taking. At the point when Frank offers Tanya a vocation regardless of her criminal status, Danica warms up a bit toward him. The greater part of “No one’s Fool” is Frank endeavoring to win Danica, first from Charlie and afterward from her own bombastic assumptions of Frank. Tanya appears now and again as Frank’s partner, and the film dives so profoundly in the mustiest of lighthearted comedy tropes and turns that I shouted out “Goodness, please Tyler!” in dismay at a certain point.
Frankly, you would have cherished a film where Haddish, Riley, Sumpter and Goldberg just riffed on an assortment of points, as they all get some comical lines that vibe totally without any preparation. Goldberg’s remark about a specific strain of her weed made me chuckle so boisterously I terrified myself. Actually, there were a few times in “No one’s Fool” where I chuckled when I most likely shouldn’t have. The greater sin here is that “No one’s Fool” squanders its comic generosity and exhibitions by floundering in the equivalent tired story components Tyler Perry has been draining on TV and in his motion pictures for a considerable length of time. He’s done this previously, and you’ve seen it previously.