But in The Best Man Holiday, it’s not the cast who should be the one to blame for seeming to be less fully actualized than before. Lee’s script glaringly takes shortcuts, such as in a scene where Julian finds a disturbing video of his wife on YouTube. As a social activist, his character shouldn’t really be afraid to confront his significant other about the events he sees, but Lee chooses to go for scandal, which ends up going horribly (and unnecessarily) awry. The instant Lee dives into the sentimentality, he goes way too deep: from the Stepford-esque kids (“too cute and schmaltzy”) to the easy-to-telegraph “a-ha” moment that is the big plot reveal — the end result is a lot of groan-induced moans within the theater.
There are moments that even baffle the audience, as we’re expected to believe these successful, intelligent, and good-hearted characters have grown from the tensions of the first film, and yet they still descend into an episode of Basketball Wives right in the thick of the film.
For what it’s worth, The Best Man Holiday will not be de-constructed by audiences who are looking to nitpick such as this critic is. The comical repartee between the cast hasn’t waned over the years, and they all offer some very likable performances despite the ominous plot that looms within the film. The fault of the picture comes from the jam-packed story, which written by Lee, suffers from too many predictable plot points, too many emotionally manipulative moments, and too few clever cinematic moments. Despite the heavy-handed usage of sexuality with religiosity, the ensemble cast — namely Taye Diggs and Monica Calhoun — stand above it all to provide an unbalanced result for fans and audiences.