ReelBob: ‘Tully’ ★★★
By Bob Bloom
Being a police officer, a firefighter or a member of the military may be among the most dangerous jobs in the world.
But the most demanding — physically, mentally and emotionally — is that of parent. It’s a 24/7 gig, with no vacation time, no days off and no expiration date.
Even when “your kids” mature to adulthood and have families of their own, you still check in on them, worry about them and pray that nothing bad befalls them.
In “Tully,” Charlize Theron plays Marlo, a mother of two small children — a girl and a boy — with a third expected momentarily.
The day arrives, and Marlo gives birth to another girl. After the now-standard short hospital stay, Marlo returns home with more chores.
Besides cooking, cleaning and taking care of the older kids, she now must change diapers, make time to breastfeed and comfort a crying newborn.
Sleep? Marlo has forgotten what that even is.
Before giving birth, Marlo’s brother, played by Mark Duplass, gives her a gift — the name and phone number of a night nanny.
The job description is in the name. That person will watch the baby during the night, so Marlo can get some sleep.
At first, Marlo resists her brother’s offer, but as the weeks progress and her very busy husband, played by Ron Livingston, is no help around the house whatsoever, Marlo reconsiders.
Soon, a young woman named Tully (Mackenzie Davis) shows up at Marlo’s home, introduces herself and immediately takes charge.
The movie, reuniting director Jason Reitman and screenwriter Diablo Cody — the two collaborated on “Juno” and “Young Adult” (also with Theron) — is a sweet comedy, a tale of empowerment.
Yet, something is a bit off about the situation. I won’t reveal any spoilers, but Reitman and Cody leave a small trail of breadcrumbs for you to follow.
Marlo, who has a degree in English literature and was writing before marriage and children, suffers the judgments of other women who comment on her looks, wardrobe, eating habits and choice of being a stay-at-home mother.
Cody seems to be taking aim at the feminist mindset that a woman who raises her children and is not in the workplace is somehow lacking in some social stature or hierarchy.
“Tully” is very sympathetic to Marlo, who silently endures the views of others with a shrug or a glimpse of pain in her eyes.
Which brings us to Theron’s subtle performance. She openly displays her vulnerability, allowing us to see her frustrations, rawness and brutal honesty.
The chemistry between Theron and Davis is the foundation that propels “Tully.” They are nearly mirror images of each other, simply separated by a decade of life experiences that shape an individual.
The ending of “Tully” may lead some viewers to scratch their heads and question some earlier scenes.
And that is one of the film’s minor problems, but it is not one that deters you from seeing this straightforward look at motherhood, its rewards and burdens.
I am a member of the Indiana Film Journalists Association. My reviews appear at ReelBob (reelbob.com) and Rottentomatoes (www.rottentomatoes.com). I also review Blu-rays and DVDs. I can be reached by email at bobbloomjc@gmail.com or on Twitter @ReelBobBloom. Links to my reviews can be found on Facebook, Twitter, Google+ and LinkedIn.
TULLY
3 stars out of 4
(R), language, sexual situations, nudity