It’s a marvellous movie about the lies we tell ourselves to stay sane—and the reasons why we might need to tell the truth.
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Tully feels like the work of a writer who’s matured and lived and become less superficial without giving up any of her natural gift for finding humor in the absurd.
Theron will put to rest any doubts about her feel for comedy; the darker the better.... As Tully, Mackenzie Davis is radiant.
The title character in Tully, the third collaboration between director Jason Reitman and screenwriter Diablo Cody, doesn’t make her entrance until well into the film, after it’s established that the protagonist, Marlo (Charlize Theron), is moving from postpartum depression to postpartum desperation — and that’s when the movie enters uncharted territory and comes to life.
Theron and Davis are dynamite together, the actresses playing off each other like two sides of the same coin.
In Marlo, Diablo Cody has created her most complicated character to date. Would that her writing displayed similar richness and empathy in painting the film's supporting characters.
Reitman is often at his best when he can join forces with an exceptional actor, and Theron once again helps with the heavy lifting.
Though Davis makes Tully convincing both as a human being and as a mysterious godsend, it’s Theron whose work is absolutely vital to Tully’s success.
The often-very-funny picture entertains while affording its characters their share of no-laughing-matter concerns.
Tully has its heart (and many other things) in the right place, but by the end you wish it had an imagination finely executed enough to match its empathy.