Tyler Perry’s Duplicity Review: Truth Hidden in Plain Sight

Rodney Blackburn’s final jog—an ordinary act rendered fatal by a single, split-second decision—resonates through every frame of Tyler Perry’s Duplicity. In the moments after the shot, attorney Marley Wells and journalist Fela Blackburn (no relation, though their grief binds them) spiral from disbelief to determination: two Black women thrust into a maze of politics, prejudice, and hidden agendas.

Perry teases a dual identity for his film—political drama meets mystery thriller—promising labyrinthine turns (“mystery lite,” if you will) beneath a veneer of newsroom monologues and courtroom speeches.

Here lie our protagonists: Marley, lawyer by day and sleuth by necessity; Fela, whose anchor-bright façade cracks when personal loss collides with public spectacle; Tony, the ex-cop turned private eye, Marley’s steadfast yet fallible ally; Caleb, the rookie officer whose trembling finger on the trigger becomes the story’s fulcrum; and Kevin, the seasoned partner whose institutional loyalties blur moral lines.

Who really fired the fatal shot? And what unspoken powers—phone calls from the ether, buried footage, unasked questions—steer these events? Such is the film’s central conundrum, one that elevates Duplicity above soap-opera mechanics (occasionally) and invites us to ponder not just whodunit but why we so readily decide.

Mapping the Investigation’s Contours

The inciting incident is deceptively simple: Rodney jogs, officers approach, chaos follows. Yet Perry immediately complicates the narrative with a mysterious 911 call that summons police without explanation. (One might dub this the “call-and-response trope.”) Marley’s legal instincts ignite as soon as Fela collapses in the street—justice must be wrested from confusion. She enlists Tony, whose badge-scarred past offers both access and tension: ex-cop insight clashes with civilian skepticism.

As the plot ascends, Marley and Tony chase leads that flicker in and out of view: an anonymous tip here, an off-screen witness there. Fela’s allegiances drift—anchorman objectivity versus friend’s plea—illustrating how loyalty can be as mutable as televised ratings. Midway, Perry withholds body-cam footage from the audience (a gambit that feels more frustrating than clever), handing Marley the exclusive reveal while leaving viewers in the dark.

Twists arrive with the subtlety of a Rhode Island blizzard: conspiracies unearthed not through nuanced sleuthing but via rapid exposition dumped in breathless monologues. The late-game unspooling becomes almost farcical—database hacks, sudden alliances, the sort of last-minute acrobatics that invite snorts of disbelief.

And while momentum spikes when truths surface (those ten seconds when everything realigns), much of the middle feels bogged down by circular legal debates and off-screen plot developments that spin in place. Through it all, pacing oscillates between tedious deliberation and giddy revelation—a roller coaster operated by someone who’s never been on one.

Faces Behind the Quest

Kat Graham’s Marley Wells is an intriguing study in controlled volatility: she strides courtroom corridors with iron-clad confidence, only to unravel when the system she revered becomes opaque. Her arc—from composed advocate to obsessed detective—anchors the film, though Graham is often left delivering dialogue that sounds drafted in a late-night writers’ room.

Meagan Tandy’s Fela Blackburn offers an interesting counterpoint: the polished news voice giving way to raw vulnerability. In scenes where grief forces her off-camera, one glimpses genuine anguish—before the script pulls her back into broad expository speeches.

Tyler Lepley’s Tony stands at the narrative crossroads, a “bridge cop” whose loyalty to Marley both propels the investigation and exposes his lingering trauma. His moments of quiet reflection (a sip of whiskey, a haunted glance) are the film’s rare breaths of authenticity.

Jimmi Stanton’s Caleb grapples with guilt in his wide-eyed way; RonReaco Lee’s Kevin embodies institutional inertia, a veteran more invested in precedent than people. Their duet of hesitance and entitlement underscores how individual tragedies can be subsumed by bureaucratic rhythms.

When all five share the screen—say, that awkward breakfast scene—you feel the potential for electric chemistry. Instead, the dialogue clicks only sporadically, leaving ensemble interactions feeling schematic rather than soulful.

Form, Function, and Fractures

Perry’s visual approach leans heavily into a cool-blue palette: every corridor, newsroom, and living room suffused with a wash so uniform it verges on antiseptic. Group shots lack a focal point; faces float in negative space, as if Perry fears committing to a single perspective. Digital noise often rims characters’ skin like halos—an unintended reminder that style without purpose can distract more than amplify.

Editing choices amplify this unevenness. The film withholds body-cam footage from us, yet flings it at characters in glorified HD (a curious inversion of the vérité ethos). Transitions sometimes land as jarring jolts—an emotional crescendo followed by a sterile courtroom cut—undermining any tension Perry hopes to sustain.

Sound design is equally inconsistent. A sparse score emerges in moments of revelation, only to vanish when silence might have hit harder. Ambient newsroom chatter recedes strangely during key scenes, as though the film can’t decide whether to amplify reality or retreat into cinematic abstraction.

At the thematic core lies an exploration of bias versus evidence: the ease with which we leap to judgment when fed a gripping narrative (a “narrative-bias nexus,” perhaps?). Yet the film’s own mechanics sometimes betray that thesis, relying on withheld information rather than genuine ambiguity. Perry tries to balance soap-style melodrama with procedural intrigue—an admirable ambition that often collapses under the weight of its own contrivances.

Still, Duplicity gestures toward cultural impact by spotlighting how media framing and political allegiance shape public outrage. Even if the film doesn’t fully capitalize on its premise, it reminds us that truth is often the first casualty when spectacle takes center stage.

Tyler Perry’s Duplicity was released on Amazon Prime Video on March 20, 2025.

Full Credits

Director: Tyler Perry

Writer: Tyler Perry

Producers: Tyler Perry, Will Areu, Angi Bones

Cast: Kat Graham (Marley Wells), Meagan Tandy (Fela Blackburn), Tyler Lepley (Tony), RonReaco Lee (Kevin), Joshua Adeyeye (Rodney Blackburn), Nick Barrotta (Sam), Jimi Stanton (Caleb Kaine), Shannon LaNier (Shannon), Kim Steele (Ina), Betty Mitchell (Deloris), Angela Halili (Anna Lewis), Kearia Schroeder (Jennifer), Marcia Harvey (Dion), Shyann Malone (Female Reporter), Judd Lormand (Officer Banks), Amanda L. Miller (Reporter #1), Wendell Scott (Reporter #2), Crystal Bui (Reporter #3), Christine Horn (Secretary), Roxzane T. Mims (Alice), Brittney A. Grayer (Voice on Phone)

Director of Photography (Cinematographer): Cory Burmester

Editor: Larry Sexton

Composer: JimiJame$