The film is about Marlo, a mother of three, including a newborn. Marlo's brother gives her a night nanny as a gift. Hesitant with the extravagance at first, Marlo comes to form a unique bond with the thoughtful, surprising, and sometimes challenging young nanny named Tully.
This is the third collaboration between Reitman and Cody following Juno (2007), and Young Adult (2011). See more »
Early in the film, an elderly woman looks disapprovingly at the main character ordering a decaf coffee (after telling her that caffeine is bad for the fetus). In fact, caffeine is bad primarily because it raises blood pressure without providing any nutrients to the fetus. This is not the case with decaf coffee. The blood pressure change associated with decaf coffee is not statistically significant and puts the baby at no risk of harm. Theoretically, if a pregnant mother drank dozens of cups of decaf coffee it *might* increase her blood pressure but it is very unlikely (not to mention very difficult to actually achieve that level of consumption). Most experts agree that caffeine is safe during pregnancy if limited to 200 mg or less per day. See more »
[Thinking a bartender didn't notice her]
Nobody wants to fuck Mommy, OK?
There's an entire genre of porn dedicated to exactly that.
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Unsatisfyingly sits the fence between drama and comedy
Tully isn't quite funny enough to entertain as a comedy, nor is it weighty enough to engross as a drama. It certainly tries to be both, but in doing so spreads itself thin to the point where neither the comedic nor dramatic elements are explored beyond a superficial level. The result is a film that's mildly pleasant and inoffensive but fails to leave a lasting impression. I appreciated the themes dealing with aging, the transitory nature of identity, and motherhood as an identity void. There are some clever observations on the matter here and there, and Charlize gives a committed and enjoyable performance. But it's somewhat slight, and the film goes on to attempt to dig deeper with a twist ending that doesn't quite land. It feels like it's trying to reach for something profound to give the film some much-needed impact but plays as unnecessary and contrived. There are also times when Diablo Cody's trademark sardonic dialogue veers into overwritten territory, with characters saying things that feel too much like script-talk - "I'm like Saudi Arabia; I have an energy surplus." ... huh? It's mostly fine though, but rarely more than that.
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