Tyler Perry’s Straw follows a desperate and marginalized mother struggle to care for her daughter

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Writer-director Tyler Perry (Diary of a Mad Black Woman, The Six Triple Eight) helms this psychological crime drama about single mother Janiyah Wiltkinson (Taraji P. Henson) living hand-to-mouth in a rundown apartment with her often-ill daughter, Aria (Gabby Jackson). Things go from bad to worse as her day spins out of control and lands her in an untenable situation. (108 min.)

Glen: Tyler Perry may be best known for his Madea movies, whose comedy feels a bit too broad for my tastes, but his movies always offer insightful commentary on being Black in America. For Straw, a tragedy through and through, Perry eschews crossdressing and comedy in favor of raw, powerful, affecting emotion. Janiyah’s life is a constant struggle. Poor, Black, overworked, disrespected, and misunderstood, she’s a woman on the edge, and this day-in-the-life story starts out difficult, becomes hard, then brittle, and finally breaks. Straw paints a compelling picture of someone reaching her breaking point and doing something unforgivable; yet, in Perry’s story, we can understand and forgive Janiyah. We sympathize because she so clearly needs help, and instead, she’s too frequently ignored and dismissed. 

Anna: This Tyler Perry film feels far away from the world of Madea. Those films feel very mid 2000s to me. This story is unfortunately timeless. Janiyah has had the worst day imaginable, and then it keeps on spiraling. Imagine a day where everything has gone wrong, and then multiply that 24/7, all day and every day. Her daughter’s school is harping her for $40 of lunch money, and Janiyah can’t catch a break to go pay it. This film is terrifying with its portrayal of the banality of Janiyah’s situation, the grind of everyday poverty and what it looks like. With skillful mastery, Perry turns it all on its head in the third act, and the complications of being human are thrust upon us in an even more affronting way. This film can’t help but grab you; it’s electric from start to finish.

Glen: This is certainly career-defining work for Henson. She’s been amazing in so many films, from Hidden Figures (2016) to Hustle & Flow (2005) to The Color Purple (2023). Her Janiyah struggles to fit into her world. At her grocery store job—one of two she works—she tries to be kind when she explains to a customer that her WIC card (Women, Infants, & Children) doesn’t allow her to make certain purchases. She stoically takes abuse from her boss, Richard (Glynn Turman), who’s indifferent to her struggles. She gives change she can’t afford to give to Benny (Sinbad), an unhouse disabled man in her neighborhood. She’s a woman who’s trying to do right, but her situation is untenable. When things go wrong, thankfully there are people like Detective Kay Raymond (Teyana Taylor) and bank manager Nicole (Sherri Shepard) who see Janiyah for what she is and sympathize. In a selfish and self-centered world, sometimes one person’s kindness can make a difference.

Anna: Janiyah’s life is like constant pounding waves beating against the rocks. You can’t help but feel the effect of that in Henson’s performance. There’s no way up for Janiyah, just through, and even that direction is only met with roadblocks and barriers at every turn. I can’t say this is a particularly pleasant film to watch; in fact, it’s heart sickening. I can’t give enough praise to Henson in this role, and in her career generally. What she has done here is special, humanizing, and raw. Her performance alone is worth the emotional tax this film takes from you.

New Times Arts Editor Glen Starkey and freelancer Anna Starkey write Sun Screen. Comment at gstarkey@newtimesslo.com.

This article appears in Jun 19-29, 2025.