Barely a spoonful of humour, really quite atrocious in parts: Tully is no Mary Poppins

Tully                                                                                              Cert: 15        1hr 36mins 

Rating:

Amazingly, it is more than ten years since Diablo Cody hit all sorts of headlines making her screen-writing debut with Juno, that still highly regarded, bittersweet tale of unplanned teen pregnancy starring Ellen Page. 

The avalanche of publicity was partly prompted by Cody’s unique CV – there aren’t many successful strippers turned journalists turned Hollywood screenwriters – and partly because of the genuine originality of her creative voice. Juno was funny, grandiloquent, moving and authentic.

Sadly, you can’t say the same of her latest effort, Tully, which sees her reunited with Charlize Theron for a second time – Theron was the star of Cody’s 2012 comedy Young Adult – and with Juno director Jason Reitman for a third.

Over 10 years since Diablo Cody's funny, moving and authentic screenwriting debut, Juno, hit headlines, her latest offering, Tully, arrives, starring Charlize Theron (above)

Over 10 years since Diablo Cody’s funny, moving and authentic screenwriting debut, Juno, hit headlines, her latest offering, Tully, arrives, starring Charlize Theron (above)

The pivotal moment that will divide audiences comes late on and I don’t intend to spoil it. 

What I will say is that when this undeniably well concealed big twist is finally revealed, I had to stifle a groan of disappointment. That? Again? Really?

Behind me, an anguished whisper of ‘No-ooo’ suggested I was not alone, although a couple of quiet sniffs further along the row indicated that the film was still working for some.

Theron plays Marlo, an already highly stressed mother of two (Asher Miles Fallica and Lia Frankland, above) whose life threatens to hit breaking point with the imminent arrival of a third

Theron plays Marlo, an already highly stressed mother of two (Asher Miles Fallica and Lia Frankland, above) whose life threatens to hit breaking point with the imminent arrival of a third

Theron’s physical commitment to a part is well known. The South African beauty famously put on 30 lb and spent hours each day in make-up for her Oscar-winning role as a female serial killer in Monster and shaved her head for Mad Max: Fury Road

Here she’s back on the crisps, full-cream milkshakes and pizza, reportedly putting on 50lb to convincingly play the central role of Marlo, an already highly stressed mother of two (her son has behavioural problems and might lazily be described as ‘autistic’), whose life threatens to hit breaking point with the imminent arrival of a third.

Until, that is, her wealthy brother offers to fund the hiring of a night nanny (‘They’re like ninjas,’ he enthuses, ‘you’ll barely know they’re there’). 

Until, that is, her wealthy brother offers to fund the hiring of a night nanny and the pretty, kooky and distinctly unorthodox Tully (Mackenzie Davis, above) duly arrives at the front door

Until, that is, her wealthy brother offers to fund the hiring of a night nanny and the pretty, kooky and distinctly unorthodox Tully (Mackenzie Davis, above) duly arrives at the front door

The pretty, kooky and distinctly unorthodox Tully (Mackenzie Davis) duly arrives at the front door one evening and we all think: ‘Ah, a nocturnal Mary Poppins.’ And that’s pretty much what this is for a good while.

And maybe that’s the problem: our expectations or, at least, mine. Cody is best known for quirky comedy, as is Reitman, who, when not working with Cody, made both Up In The Air and Thank You For Smoking

And that seems to be what they are after here, although – somewhat uncomfortably – it doesn’t really work.

While I wanted to like Tully more; expected to like it more, even, the pace is slow, the tone elusive and the end result left me disappointed  

While I wanted to like Tully more; expected to like it more, even, the pace is slow, the tone elusive and the end result left me disappointed  

Theron makes Marlo a difficult woman to warm to, Reitman underlines the exhausting horrors of a new baby to an alarming degree, and the few laughs here are modest ones. 

Nor does the film properly explain Theron’s zealous, possibly over-zealous, preparation for the role. Only later are both these apparent shortcomings explained, albeit in a way that left me more exasperated than impressed and which hardcore Cody fans may recognise.

Davis, whom some might recognise from supporting roles in both Blade Runner 2049 and The Martian, makes a reasonable fist of the free-spirited, crop-top-wearing Tully, who seems to come alive at night just as an exhausted Marlo runs completely out of steam. 

IT’S A FACT

Prior to filming, Charlize Theron would set her alarm for 2am, wake up and eat cold macaroni cheese to help gain weight for the role.

With Tully uttering the magic words ‘And so to bed’, some sort of domestic equilibrium is slowly restored. Marlo starts wearing make-up again, exercise is taken, that sort of thing.

But an ability to quote Samuel Pepys isn’t the only thing that’s a little bit odd about Tully. 

She stays and watches when she brings the baby up to Marlo to feed, she has a complicated love life (she’s in several relationships, she explains) and, in a really creepy scene, seems a little too eager to get Marlo’s post-natal sex life back on track.

I wanted to like Tully more; expected to like it more, even. But the pace is slow, the tone elusive and the end result left me disappointed. Mary Poppins it ain’t.

 

SECOND SCREEN 

Lean On Pete (15) 

Rating:

I Feel Pretty (12A) 

Rating:

Mary And The Witch’s Flower (U) 

Rating:

The Strangers: Prey At Night (15) 

Rating:

The first half of Lean On Pete is probably the most enjoyable hour I’ve had in the cinema in 2018 so far. It’s a shame the second half doesn’t quite match it, but, even so, this thoroughly all-American tale is still a triumph for its British director, Andrew Haigh.

Charlie Plummer is a fresh-faced delight as 15-year-old Charley Thompson, who, despite the fact that his mother has left and his womanising father is often so short of money they go hungry, is essentially a nice boy, generally trying to make the best of life in yet another new town. 

So when a local racehorse owner, played by Steve Buscemi, offers him a casual job looking after his horses – including a chestnut called Lean On Pete – Charley jumps at the chance.

The first half of Lean On Pete is probably the most enjoyable hour I’ve had in the cinema in 2018 so far with a delightful Charlie Plummer starring, ably assisted by Steve Buscemi (above)

The first half of Lean On Pete is probably the most enjoyable hour I’ve had in the cinema in 2018 so far with a delightful Charlie Plummer starring, ably assisted by Steve Buscemi (above)

This surely is his way out. But nothing in life, or indeed this sort of film, is that simple. 

What ensues inclines to the sentimental but comes over as a pleasing cross between All The Pretty Horses and The Straight Story, with a rite-of-passage dollop of American Honey.

I’m sure a young female crowd will enjoy I Feel Pretty more than I did, but I’m sure they’ll also recognise that this so-so romantic(ish) comedy is a) awfully like Ugly Betty and b) not really Amy Schumer at her best. 

She plays Renee, a slightly overweight New Yorker struggling with her body image until… she bangs her head and wakes up believing she’s been magically transformed into a leggy beauty. Only we know what the rest of the world can see: she’s the same as ever.

I’m sure a young female crowd will enjoy I Feel Pretty more but it's not Amy Schumer (above with Rory Scovel) at her best and the so-so romantic(ish) comedy is very similar to Ugly Betty

I’m sure a young female crowd will enjoy I Feel Pretty more but it’s not Amy Schumer (above with Rory Scovel) at her best and the so-so romantic(ish) comedy is very similar to Ugly Betty

Ah, but with her new inner confidence, who knows what Renee might now achieve…

Mary Stewart wrote The Little Broomstick in 1971 so it’s not her fault that her tale of a lonely girl, a broomstick and a magic school for wizards and witches has been trumped by Harry Potter. 

But it is a problem for the Japanese animators who have adapted Stewart’s story into a feature film, Mary And The Witch’s Flower

I loved the attention to English period rural detail but the pace is sluggish, the story distinctly unmagical and the visualisation of a ten-year-old girl somewhat uncomfortable.

You probably won’t be able to explain what Mad Men star Christina Hendricks (above) is doing in slasher-killer flick The Strangers: Prey At Night although you may be able to guess the plot

You probably won’t be able to explain what Mad Men star Christina Hendricks (above) is doing in slasher-killer flick The Strangers: Prey At Night although you may be able to guess the plot

In slasher-killer flick The Strangers: Prey At Night a bickering family check in to a strangely deserted holiday park. 

You can guess the rest but you probably won’t be able to explain what Mad Men star Christina Hendricks is doing in this nasty nonsense.  



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