TULLY (2108) – Review

As that massive galactic battle between hordes of heroes and a nearly unstoppable still rages after obliterating box office records last weekend, a new smaller film concerning a more down-to-Earth, but still desperate struggle. will be occupying some of the non Imax 3D theatre spaces at the multiplex, along with certain “art-house” cinemas. While the former flick is a big uniting of several action/fantasy franchises, this new film is a uniting, or rather a re-uniting of some very creative, almost superheroic talents. In 2007 the “dynamic duo” of screenwriter Diablo Cody and director Jason Reitman scored a critical and box office hit with a tale of teen pregnancy, JUNO (Cody nabbed a well-deserved Best Original Screenplay Oscar for it). The duo became a titanic trio four years later when Charlize Theron starred in their darkly comic tale of thwarted high school reunion romance, YOUNG ADULT. Though that film has many admirers (including this site’s own Travis Keune who awarded it four out of five stars), it didn’t hit the same box office bullseye as Ellen Page’s plucky heroine. Happily this did not deter the three. In the last six years they’ve started or added to their own families, which has inspired this non-sequel (different characters, but similar tone) follow-up simply called TULLY.

With the first fade-in, we’re dropped into the frazzled, frenetic life of thirty-something mother Marlo (Theron). It’s morning, and she’s rushing to get her two “grade-schoolers” off to classes. Eldest daughter Sarah (Lia Frankland) frets over her homework and classmates, which concerns Marlo, who believes she may be on the road to lots of insecurities. But it’s her kid brother, first-grader Jonah (Asher Miler Fallica) who takes up most of his mother’s energy with his behavioral issues (yelling, chanting, kicked the back of her car seat, etc.). Marlo’s called into the school principal’s office to discuss the possibility of a personal “aide” to Jonah who could attend to his “special needs”. When she gets a breather, and Marlo really needs one since she’s nearing her third child’s due date, she enjoys a coffee shop muffin. Of course an old college pals spots her and can’t hide her surprise atseeing her very pregnant former “party girl”. That night Marlo tells hubby Drew (Ron Livingston), who spends most of his after work time in the upstairs bedroom blasting zombies in an online computer game, that they’ve been invited to Dinner at the home of her wealthy pretentious brother Craig (Mark Duplass). After much cajoling Drew agrees. At Craig’s ultramodern, perfect home he proposes a gift for Marlo’s new arrival: a night nanny. He had hired one for his wife Elyse (Elaine Tan) after the birth of their second child. The nanny would arrive in the evenings, after the older kids were off to bed, and stay in the baby’s room, watching over the newborn, until dawn, only waking up the mother for feedings (allowing Marlo some needed sleep). Drew and Marlo laugh off such an extravagant luxury, but when the pressures build up, she gives in and calls the service. That night Marlo opens the door to Tully (Mackenzie Davis), a ‘free spirit” in her early twenties. The two women immediately bond, and Marlo begins to look forward to her nightly arrival. Soon, Marlo is stunned to wake up to a clean house and pre-made meals (Tully’s got energy to spare). A real friendship begins, but what will happen to Marlo when Tully’s services are not needed, as the mother becomes more dependent on her than the baby?

This modern take on the joys and struggles of motherhood is a compelling showcase for one of our most talented film actresses. Once again, Theron proves her Oscar win from fifteen years ago was no mere fluke, but rather a calling card proclaiming that she was more than a “glamour goddess”, a gifted artist with incredible range. Less than a year ago, she was reminding audiences of her action chops, building on her scene-stealing turn as Furiosa, the true star of MAD MAX: FURY ROAD as the deadly platinum assassin in ATOMIC BLONDE. Oh, and speaking of film thievery,  a couple of months ago, Theron was the great comic joy of THE GRINGO as the intimidating “man-eater”. Here she completely melts into this overwhelmed parent, one we would pass quickly on the street or in a shop (and breathe a sigh of relief that we aren’t dealing with her issues). Theron projects a weary exhaustion, so that our joints almost ache in empathy with her. Then there’s Marlo’s quiet, slowly building frustration as she’s patronized by school officials and taken for granted by her oblivious hubby. She’s often on the verge of desperation, finally at the end of her rope. softly pleading for son Jonah to calm or for the baby to just stop screaming. Theron also relays her sadness as it seems her energy and sexuality has been drained (that birth weight, which is not a latex body suit, will not go away no matter the exercise). At last, some sense of fun and spontaneity returns as Tully brings back some of her youthful zeal. Theron makes Marlo a most relatable modern matriarch and carries the fable, with grit, humor, and compassion. It’s superior work that should be remembered at year’s end award time.

Happily Theron gets wonderful support from a terrific cast. Davis is entrancing as the etherial “hippie chick”, knowing just the right thing to say or do for mother and child. More than a flowery, folk Mary Poppins, Davis brings a free-wheeling happy spirit into Marlo’s home, drifting in and out like a pixie of perfection. Livingston has great “laid-back’ comic timing as the often clueless Drew. He believes his family duties began and end with his breadwinner nine to five gig, allowing him to make passive-aggressive comments about the housekeeping and meals, with no need to really contribute. He does notice the change in Marlo after Tully’s there, but doesn’t deem it worthy of more inquiry. And Duplass scores big laughs as the upwardly mobile, rich relative who throws money at any problem rather than really relating to his sis and her struggles. His soft-spoken boasting are the story’s tough comic spine.

Director Reitman confidently bounds back from his disastrous last couple of feature efforts, the mind-numbing “one two punch” of LABOR DAY and MEN, WOMEN, AND CHILDREN (however, his TV show on the Hulu streaming service, “Casual” is pretty good). He expertly guides this marvelous cast, while never letting flashy narrative turns detract from the intimate character interactions. Most importantly, Reitman keeps the pace flowing at a lean (but not too “mean”) 96 minutes. And that taut direction is in service to Cody’s compelling script. Far too many movies tend to romanticize motherhood, with sweet cherubs delighting their parents with delightful antics and cutesy quips (the dismal MOTHER’S DAY flick from two years ago comes to mind). There are the happy moments, but Cody rips away the rose-colored camera lens and lets us see the “warts and all” reality of child-rearing. But there are still loads of laughs, as when Craig talks about his daughters act in the school talent show. What’s most engaging is the friendship of Marlo and Tully,as the young care-giver helps remind her boss that the world can be just as magical now as it was then, in her adventurous youth. Plus there’s a pretty great plot twist worthy of M. Night and a little life lesson for all couples. TULLY’s a triumph, and hopefully just the second of many collaborations between these three artists.

4.5 Out of 5