You know that feeling when you're flipping through cable at 2:00 AM and you stumble upon a movie that's so messy, so dramatic, but somehow incredibly grounded? That’s basically the vibe of The Family That Preys.
Most people look at Tyler Perry’s filmography and expect one of two things: Madea hitting someone with a frying pan or a super-intense church sermon. But this 2008 flick? It’s different. It’s arguably the most "grown-up" thing Perry ever put on screen. Honestly, if you haven't seen it in a decade, you’ve probably forgotten just how much of a powerhouse Kathy Bates and Alfre Woodard are in this thing.
The Secret Sauce: Why The Family That Preys Hits Different
Most of Tyler Perry's early work felt like filmed stage plays. The lighting was often flat, and the sets felt a bit thin. The Family That Preys broke that mold. It was his first real attempt at a "crossover" film, blending his signature melodrama with the grit of a southern road trip movie.
At its core, the movie follows two matriarchs: Alice Pratt (Alfre Woodard), who runs a modest diner called "A Wing and a Prayer," and Charlotte Cartwright (Kathy Bates), a socialite who owns a massive construction empire. They’ve been friends for thirty years, which is a lifetime in "movie years."
The drama kicks off because their kids are, frankly, a mess. You’ve got Alice’s daughter Andrea (played with terrifying precision by Sanaa Lathan) having a blatant affair with Charlotte’s son, William (Cole Hauser).
It’s a classic "upstairs-downstairs" dynamic, but Perry flips it. The wealthy family is crumbling under greed, while the working-class family is struggling with pride and secrets.
The Road Trip That Saved the Movie
About halfway through, Alice and Charlotte decide to ditch the drama and hit the road in a vintage blue convertible. This is where the movie actually breathes. It’s very Thelma & Louise meets Driving Miss Daisy, but with more soul.
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They head west, visiting the Grand Canyon and just... talking. These scenes are actually pretty quiet for a Perry film. No one is shouting. No one is throwing a plate. It’s just two legendary actresses talking about what it means to grow old and realize your children aren't who you hoped they'd be.
Charlotte is hiding a terminal illness, and Alice is trying to find her voice again after years of pouring everything into her diner and her faith. It’s some of the most authentic writing Perry has ever done.
That One Scene Everyone Still Talks About
We have to talk about the "slap."
If you’ve seen the movie, you know the one. Chris (Rockmond Dunbar), Andrea's husband, finally realizes his wife has been cheating and hiding nearly $300,000 in a secret bank account. He confronts her on a construction site, and things get physical.
Now, this is where critics and fans always split. Some viewers at the time cheered when Chris finally stood up for himself. Others, like film critic Brian Orndorf, argued that Perry was essentially "endorsing domestic violence" as a form of justice.
It’s a complicated, messy moment. In the world of Tyler Perry, justice is often swift and visceral. Whether you agree with the scene or not, it highlights the central theme: you can't build your happiness on someone else's misery. Andrea's downfall is brutal—she ends up in a low-rent apartment, broke and alone, while the husband she belittled becomes a successful business owner.
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Breaking Down the Cast (And Why They Worked)
- Alfre Woodard as Alice: She’s the moral compass. Woodard brings a stillness to the role that balances the high-octane drama around her.
- Kathy Bates as Charlotte: She’s flinty and fabulous. Bates has this way of looking at people like they’re a bug under a microscope, but her warmth with Alice feels real.
- Sanaa Lathan as Andrea: Kinda the villain you love to hate. She’s so cold in this role it’s almost impressive.
- Taraji P. Henson as Pam: She plays Andrea’s sister, the "good daughter" who stayed behind to help at the diner. It’s a smaller role, but Henson gives it 110%.
- Tyler Perry as Ben: Yes, Tyler is in his own movie (shocker). He plays Pam’s husband. He’s much more understated here than in his other roles. No wig, no fat suit. Just a guy trying to help his family.
The Box Office Reality Check
When this movie dropped in September 2008, it opened at number two. It pulled in about $17.4 million in its opening weekend. While that was a solid hit, it was actually a bit "low" compared to Perry’s Madea-led movies.
Critics were mixed, as they usually are with his work. Some praised the chemistry between Bates and Woodard, while others rolled their eyes at the soap-opera-level twists. But audiences? They loved it. It eventually grossed over $37 million domestically.
More importantly, it proved that Tyler Perry could direct A-list, Oscar-winning talent without the wheels falling off. It showed he could tackle race, class, and terminal illness without losing the "common man" appeal that built his empire.
What Most People Get Wrong
The biggest misconception about The Family That Preys is that it’s just another "church movie."
Sure, faith is a big part of Alice’s life. She’s the one who tells Charlotte to "talk to God." But the movie isn't a sermon. It’s a cautionary tale about ego.
William Cartwright isn't a villain because he's rich; he's a villain because he’s entitled. Andrea isn't "bad" because she wants money; she's "bad" because she treats her family like disposable tools. The movie is really about the difference between living and just existing.
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Charlotte’s realization that she has more in common with her black, working-class best friend than her own son is the real heart of the story. It’s about choosing your family rather than just being born into one.
Behind the Scenes: Filming in Georgia
Perry shot a lot of this in and around Atlanta, particularly in Covington. There’s actually a "Covington Walk of Stars" where you can see the film's name honored. This was also right around the time Perry was launching the original Tyler Perry Studios in the old Delta headquarters.
You can feel that Georgia heat in the movie. The diner, the construction sites—they all feel lived-in. It doesn't have the "shiny" Hollywood look, and for this story, that's exactly what it needed.
Practical Takeaways for Your Next Watch
If you’re planning to revisit this one, or maybe see it for the first time, look past the soap opera tropes.
- Watch the background: The relationship between the two sisters, Pam and Andrea, is a perfect study in sibling resentment.
- Listen to the score: It’s more subtle than you’d expect for a 2008 drama.
- Notice the color palette: Notice how the colors change once they leave the city for the road trip. Everything gets brighter, more open.
Ultimately, The Family That Preys remains a standout because it dares to be quiet in the moments that matter. It handles the "interracial friendship" angle without being preachy or making it the only thing the movie is about. It’s just two women, a convertible, and a lot of regrets.
Actionable Insight: If you're a fan of character-driven dramas, watch this as a double feature with Steel Magnolias or Thelma & Louise. It fits into that tradition of Southern "womanhood" cinema far more than it fits into the standard "urban drama" category. Pay attention to the scenes in the diner—they’re basically a masterclass in how to establish a setting through sound and dialogue.