Tully

Tully tells the story of Marlo (Charlize Theron), a New York suburbanite pregnant with her third child. Her husband, Drew (Ron Livingston) is loving, but somewhat neglectful, showing more interest in playing video games than helping Tully maintain the house and family. Clueless about the pressures of motherhood, he fails to notice when Marlo begins to show signs of post-natal depression. However, shortly after the baby's birth, Marlo's wealthy brother, Craig (Mark Duplass) hires a night nanny named Tully (Mackenzie Davis) to help take some of the pressure off Marlo. Reluctant to embrace the idea at first, Marlo soon forms a tight bond with Tully, who introduces Marlo to a lifestyle she had never imagined.

Tully is one of those films that the less you know about it before seeing it, the better. Featuring committed performances from Theron and Davis, the film is written by Diablo Cody and directed by Jason Reitman, a partnership which also produced Young Adult (2011), in which Theron also starred. There's a definite thematic uniformity between the two films, as if they exist in an almost sliding doors-like relationship to one another. My only real issue with Tully is that the supporting characters are very thinly drawn - Drew, the well-meaning but ineffectual husband, is especially void of substance. Although, to be fair, the nature of the story, to a certain extent, necessitates this. In any case, this is an excellent study of an issue very rarely put on-screen - imperfect motherhood. A word of warning though; neither the poster, nor the trailer do the film any favours whatsoever. It's funny in places, but this is not a comedy.

My wife and I watched this movie at home on DVD from our public library.

I have always been a big Charlize Theron fan, ever since I first saw her in 1998's 'Mighty Joe Young'. She was a producer for this movie and, in the lead role, gained 50 pounds to make the character authentic. She is really great here in a difficult role.

Here she is Marlo, she and her husband are also best friends, but as often happens he can't quite relate to her task of taking care of two young children, and on top of that she is very pregnant and about to deliver their new daughter.

As we watched the story develop, and Marlo gets a night nurse, Tully, who comes in at bedtime and takes care of the baby, the story seems to be taking a very strange twist. At the height of that strangeness Tully talks Marlo into driving into New York City for drinks at night after the baby and her husband are asleep.

When the story resolves itself completely it all makes sense, the overall thrust is how what we commonly know as postpartum depression can affect a busy mother.

From the same writer that gave us "Juno" and "Young Adult."

Greetings again from the darkness. Director Jason Reitman and writer Diablo Cody first collaborated on the filming of her debut script JUNO in 2007. Four years later they made YOUNG ADULT with Charlize Theron, and now all three reunite for this latest tip of the cap to motherhood and self-care. Simpatico is the word that comes to mind here with the perfect lineup of writer, director and actress. The biggest question is how to label it. Some will call it a comedy, while others will proclaim it a serious drama. As with much of life, there is a bit of laughter, a touch of drama, and a dash of most every emotion.

Ms. Theron stars as Marlo, mother of three. There is 8/9 year old daughter Sarah (Lia Frankland, 6 year old son Jonah (Asher Miles Fallica) who lands on the autistic spectrum, and now an unplanned newborn that threatens to rock a family already barely getting through each day. Sarah is a lovely sister and daughter, but the typical adolescent insecurities are magnified by her getting lost in the shuffle due to her two more needy siblings. Jonah gets booted from mainstream kindergarten by a principal who labels him "quirky" ... an awkward description people use when they are trying to be polite (even though it's exactly the opposite).

Ron Livingston plays Marlo's husband Drew, a traveling businessman who, though a nice guy and loving father, is clueless to the stresses of running the homestead. Also in the mix is Craig (Mark Duplass), Marlo's brother who is equal parts wealthy and smug. When Craig offers the gift of a night-nanny to Marlo, she is tempted, but her pride gets in the way as she compares herself to the 'cupcake' super moms who always seem to have their act together. Ultimately, the relentless pressure and sleep deprivation, bring the young night-nanny Tully (Mackenzie Davis) into the home. She and Marlo hit it off immediately leading Marlo (and us) to question if Tully is too good to be true.

As Tully entrenches herself, it becomes clear that her value is to Marlo more than the baby. The two ladies become friends, and Marlo confesses her fears and insecurities as Tully acts as a life coach encouraging her through some tough moments. Despite the surreal feel to these interactions, Diablo Cody's dialogue crackles with cynicism and realism. The quips we've come to expect from her writing are delivered by her best developed character to date. There is a depth to Marlo, and her exchanges with Tully take us places a teenage JUNO couldn't possibly.

Charlize Theron proves again that she is truly an elite actress when she commits to a role. Her 50 lb weight game adds the necessary realism, but it's her emotional teetering that is most impressive. She is like a supermodel who also plays rugby - a rare blend of beauty, talent and skill. Mackenzie Davis is a revelation. She holds her own in every scene and it's quite interesting to see her free-spirited modern day Mary Poppins with tats.

If a previous movie has dealt with the challenge and stress of motherhood with this level of depth and realism, it doesn't come to mind. The movie kind of creeps up on you with a message regarding the importance of dealing with lost youth, while also never losing sight of yourself as an individual ... all with incisive humor and pulling no punches on being an overwhelmed mom. Just don't call it quirky.

It's a daunting task to do this film justice with mere descriptions of what it may or may not be about. One thing is clear, it is about motherhood, it is about identity, and about self-acceptance, but one could argue most films are about identity and self-acceptance, which leaves us with motherhood.

It feels much more important to underline that Tully is a rare film with stunning writing and dialogue and acting, that takes the viewer through what it can feel like to be a mother of three children with rare sincerity, realism, lightness and freshness. Mostly, it just feels like we are there, we desperately want to lighten the load Marlo (Charlize) has on her hands, we are incredibly grateful for everything Tully (MacKenzie Davis - who is very far from Cameron Howe here, showing that she has great range on top of her talent) does for her. And when the film ends, it feels like what a movie is supposed to feel like: like we have journeyed somewhere else, both awed and scarred by some of what we've seen, and a little bit wiser than when we first came in.

Tully was a pleasant surprise. This film intentionally has a strange & uncomfortable feeling to it, even when things are going well. The ending will frustrate some people, and it does simplify some complicated issues, but overall I found this movie to be enjoyable. And now my wife wants to hire a night nurse.