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The duo trained by the director Jason Reitman and screenwriter Diablo Cody had given rise to date two movies. The first was ‘Juno’, one of the independent productions, most popular of the last decade, for which he was nominated for an Oscar -it was also the own movie and Ellen Page, his protagonist – and she took the statuette home.
Something more unnoticed passed ‘Young Adult’ despite being a better film and to have an excellent interpretation of Charlize Theron, who gets to wear the orders of Reitman in ‘Tully’his new collaboration with Cody. On this occasion, the depression after childbirth is the topic on which it is built a significant proposal in that it shines on the work of its protagonist, which allows even overlap to such an outcome questionable.
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it is Not a coincidence that the very Diablo Cody to write the screenplay after giving birth to your third fixed, exactly the same trance that happens Marlo (Theron) in ‘Tully’, as the first act of the film explains very well how it will look outdated more and more, and that that entry was made difficult by the peculiarities of another of his children.
That physical fatigue and mental is perfectly presented for us to understand well what it takes to decide on something that was rejected initially. This grueling routine is also shown very well visually and also take the opportunity to go establishing a simple but effective what can you contribute the rest in the characters, especially the husband -solvent Ron Livingston– and the brother -more that is right Mark Duplass-.
however, ‘Tully’ is the story of Marlo and how the entry into his life of a babysitter night makes your life change and retrieve that part of his personality that had been buried by their obligations of the day-to-day.
That reunion inside is something that is note because only with their bodily expressions, leaving aside the fact of being completely saturated, and be able to return to enjoy the life so to speak.
‘Tully’, more lights than shadows, but with one catch important
Theron is flawless at all times, but it is true that there comes a point at which one even thanks you again to be a person rather than solely being a mother.
That distinction is very important to understand the message we want to transmit the movie, but the problem is that it does so on the basis of a decision of the script to be doomed to not go unnoticed for long before you reach it as there is some signal in that direction.
For my part, it seems to me a decision that fits with the message of the film, but I wish Cody would have gone in another direction, as it depends on what we come to believe certain details that it hard to accept without more. It is then where that naturalness that finds the film shows their weaknesses, although not enough for everything that we had previously enjoyed to break down completely.
At that point it really helps to the good chemistry of Theron with Mackenzie Davis, whose entry in the life of the first serves to leave that routine that was destroying. Their conversations are interesting, and the relationship of genuine friendship that arises between she works as a narrative motor better than when a new day begins and Marlo shows the settings that you make with your family.
otherwise, Cody proposes an interesting reflection on the way of coping with the depression after the delivery and Reitman the run the right way, but neither adds anything particularly distinctive from its job of setting the scene –including what was initially in the visual area is more the result of the mounting of anything else.
In short, ‘Tully’ is below ‘Young Adult’, the previous collaboration between Theron, Cody and Reitman, but it has enough virtues for your viewing worthwhile. It is true that none of them is at the same level that the action of its protagonist and that there is an important detail in the script that may have to back more than one, but I think it will compensate to see it.
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The news ‘Tully’: Charlize Theron raises an interesting reflection on the postpartum depression that fails at the end was originally published in Espinof by Mikel Zorrilla .
June 22, 2018
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