The Hand That Rocks the Cradle: Review of Tully

Tully

Director: Jason Reitman

By Alex Watson

Jason Reitman and Diablo Cody movies nowadays are a little unpredictable. His new effort Tully proves that he is still great at portraying the strains of the everyday family. However, when we lift the hood on this impressive drama there are still a few questions to be had. Anchored by a stunning Charlize Theron, this picture is not short on talent or power but what starts as an impressive story by Cody runs into trouble just before the finish line.

Marlo (Charlize Theron) is a jaded mother of two who is expecting a third child. Having to deal with an autistic son and constantly stressed, brother Craig (Mark Duplass) suggests that she hire a 'Night Nanny' to assist her. Despite some resistance, Marlo eventually relents and soon Tully (Mackenzie Davis) arrives. Soon Marlo's life becomes one of peace and routine, however, she still remains suspicious of the new lady in the house.

For the most part, Tully is a very sweet and well-observed film and the first half of the movie firmly emphasizes the difficulties Marlo encounters. While her hubby Drew (Ron Livingston) gets to have his life of work and late night video games, Marlo is juggling a son whose school is dropping hints he may not suitable for their environment. Also, she is heavily pregnant and slightly apprehensive about this unplanned pregnancy. During this opening half, anyone considering a large family may think twice after seeing Marlo reach boiling point. Feeling a shadow of her old, freer self, this character is identifiable to many as she comes across as the jaded and worn down mother who believes her life is a series of 'what if' questions. Under Cody's script- she comes across as a well rounded capable of having a wicked sense of humour but also able to scream the house down when pushed.

When Tully arrives, she comes across as almost a hipster version of Mary Poppins. With her good looks, a variety of random facts and continually peppy persona, she's everything Marlo dreads as she represents all she has lost. "You're like a book of fun facts for unpopular 4th graders." she muses to the new charge. Together the two begin to form an unusual bond and slowly Tully begins putting on a magic touch by baking cupcakes, giving sex advice and thankfully giving the stressed Marlo a break. What has been a very believable and touching story so far begins to become unstuck when the nanny appears. The story takes on an almost fantastical feel and the events start to swerve in all kinds of bizarre directions. Such as one wild night where Marlo and Tully ditch their lives to go party in Brooklyn with disastrous results.

Then we come to the ending which in many reviews has been pinpointed as the picture's major flaw. It is a clever twist by Reitman and Cody, but its delivered with the subtly of a sledgehammer. Some view this as a ham-fisted take on mental illness and ultimately it leaves our story with a number of questions and plot holes. After underwhelming with emotive drama's such as Men, Women and Children and Labor Day, Tully shows a return to form for Reitman. This is a movie that can conjure up a variety of emotions, but during the second half, it feels like he has lost control of the wheel. Which is a shame because this movie is has a wonderful naturalistic charm which if properly cared for could have been an awards contender.

Charlize Theron gives a powerhouse performance that is easily her greatest since she rode the Fury Road. Marlo is a character who is so real it hurts and Theron does a masterful job of expressing her frustrations, self-doubts and her desire to have more fun. Whenever on screen, Theron is sensational and becomes the movie's pulse. Previously shining as the narcissist and vulnerable Mavis in Reitman's prior film Young Adult, Theron proves she is his go-to actress. Credit too to Mackenzie Davis who also rings in a strong supporting turn as the offbeat Tully. Breezing into their lives with an easygoing charm, Davis breathes fresh air into this tired life and is infectious throughout. Best known for her supporting turns in big movies like The Martian and Blade Runner 2049, this picture finally shows the skill she demonstrated in TV shows such as Halt and Catch Fire and the notable Black Mirror episode San Junipero.

Tully is an effective movie by Jason Reitman, but it ending will prove divisive among viewers.

The Iron Lady: Review of Atomic Blonde

Atomic Blonde

Director: David Leitch

By Alex Watson

There are few actresses on the planet better at kicking ass than Charlize Theron. Set against a thumping 80's soundtrack, Atomic Blonde is a gloriously pompous ride with a heroine to die for. Referred to as the female version of John Wick, director David Leitch (also John Wick's co-director) brings an effortless cool to proceedings. While the story might falter slightly during a lopsided third act, the entertainment factor never once goes below thrilling.

In 1989 Lorraine Broughton (Charlize Theron) is a British MI6 agent sent to Berlin to investigate the murder of a British agent by KGB. In the last days before the Berlin Wall falls, the city is ripe with corruption and murder. Forced to work with dishevelled agent David Percival (James McAvoy), Broughton must work hard to get back a vital list of double agents that has gone missing. If KGB gets their hands on it, it will mean a cold war extension.

Despite its setting during the final days of the Cold War, Leitch doesn't overload the story with political themes. Atomic Blonde is a wonderfully straight forward story of revenge, Broughton is a cunning heroine from the very beginning. Secretly mourning the death of her lover and fellow agent. This trip is as much about getting square as it is neutralizing the threat. Watching her crawl out of a bathtub of ice cubes covered in bruises gives only a hint of what she is capable of. Jumping back and forth from an interrogation with her superior Eric Gray (Toby Jones) and shady CIA man Emmett Kurzfield (John Goodman), we learn quickly that she is an unreliable narrator. However, she is also a sleek and ruthless killer who can also put on the charm in a heartbeat. In short, this is one compelling lady who can break bones and hearts in equal measure.

Percival is an operative who brings his own set of problems. An MI6 golden boy gone wrong, he is a continually hungover liability with 'bad Sinead O'Connor hair'. His agenda is to simply make money and swimming between East and West Berlin has him frequently dodging bullets. Also on the horizon are French operative Delphine (Sofia Boutella), who takes a romantic interest in Lorraine. The first half of Leitch's movie is all about fine tuning, but his style is very fluid and stylish one and this benefits the movie greatly. Along with Lorraine's ruthless and sexy edge, the film glides along on rails. Set in a cold and frozen Berlin, the danger she faces is well portrayed. Any one of the allies she makes could double cross her in the blink of an eye. Berlin is a city where rules have long since departed and every man and women are for themselves. Leitch's set piece direction, in particular, shines brightly, especially during an ambitious 8 minute one take fight scene. A ferocious display of punches, kicks and bullets- Lorraine is like a caged animal released as she fights against a multitude of enemies. Leitch follows this up with a breathless car chase in reverse- this is an early candidate for scene of the year.

What holds back Atomic Blonde is its writing because although the story is free of any needlessly long explanations, there are also too many unanswered questions. Lorraine is a ballsy character but certain elements to her character are left unexplained, likewise Percival and his descent into black marketing. Writer Kurt Johnstad seems to go for a level of intelligence the movie just doesn't have and the frequent twists and turns become unbearable towards the end. While for the most part, this is a well-polished affair, there are still specks that need cleaning up. When you have been given a rip-roaring ride like Leitch's movie, such errors are easily forgiven.

Charlize Theron proves she is Hollywood's main lady when it comes to playing tough female leads. Her Lorraine has a wonderful sly touch to her and the sheer amount of layers Theron adds are astounding. Morally ambiguous from the get-go, Theron turns in a multi talented performance that is as sexy as it is cutthroat. Lorraine might not have the same strength as Furiosa but she is every bit as tough. McAvoy is able to match his A-list co-star with a sneaky and slimy performance as Percival. The Scottish actor keeps this character's intentions secret throughout and it's a supporting turn that is always evolving.

Atomic Blonde provides cinema with the best female heroine of 2017 and is a movie to just sit back and enjoy- just try not to ask too many questions.

The Road Warrior Returns: Review of Mad Max:Fury Road

Mad Max:Fury Road

Director: George Miller

By Alex Watson

Mastermind George Miller has ensured that out of nothing, Mad Max:Fury Road is a wall to wall belter which firmly reignites this franchise! A blood pumping thrill ride from the off, Miller's apocalyptic Oz world is engaging as it was when Mad Mel donned the black leathers. Stuck in development hell for over 22 years, this picture has not only been worth the wait! The raw punk rock influence of its predecessors has not been lost and finally Max has come on the biggest scale of all.

Captured by the War Boys of tribe leader Immortan Joe (Hugh Keays-Byrne), Max (Tom Hardy) reluctantly joins forces with defector Imperor Furiosa (Charlize Theron). The catch involves transporting Joe's five selected wives across to a safer haven across the Fury Road. But with not only Joe, but numerous other clans in pursuit- this will be no straight forward task.

With a far larger budget compared it is predecessors, Miller has been able to go full frontal on the carnage front and Mad Max: Fury Road excels epically. Seeing various tribes looking extra's from a Billy Idol video tear across the desert landscape, it is impossible not to grin widely. The beginning sequence gives a big indication of things to come as Furiosa driving the heaving armed 'War Rig' manages to thwart not only a wave of attacks from the War Boys, but then drives head first into a gigantic sandstorm! There may be questions surrounding the events of the beginning sequence, but when everyone hits the road- all theories become like the sand hanging on the breeze.

The relationship between Max and Furiosa is the one that forms the real heart of the movie. Years on, the Road Warrior is just as appealing and gutsy as the days of old. His words are infrequent, but when he lands them the effect is always felt. His reasons for joining this dangerous quest are up for speculation, but then again Mad Max has always favored the long odds. But out of the two leads, it is Furiosa who appeals more to our nature. She a woman who is desperate but not on her knees, who yearns to be free of the tyrannical group from she was forced into as a young girl. Her compassion and sheers balls that are demonstrated mark her out and as one of the heroines of the year!

But its glimpsing upon the tribe HQ 'The Citadel' that is the real eye opener. Here Miller shows a world of domination that boarders on grotesque. We see women being farmed for breast milk and Max himself is used a blood bank for desperate to impress warrior Nux (Nicholas Hoult). Joe is certainly a heavy and Valhalla spouting presences as leader, along with his silver skull oxygen mask and growling Bane like voice. Controlling his minions with an iron fist and sparingly giving them his waterfall of 'Aqua Cola' it is easy to see how the innocents of this world have immortalized his being. However, the moment that Furiosa goes rogue to rescue the unwilling brides, the movies takes on a high octane feel that shifts into top gear and refused to lower the gas pedal!

As the new Max, Tom Hardy makes for a worthy replacement and his presences on screen in one that dominates Miller's film. One of this centuries most prominent talents, Hardy has built his career is playing tough and imposing figures and Max fits him like a glove. This nuclear world will now be safe hands in future and Hardy is contracted for future sequels. Charlize Theron is also excellent as the determined Furiosa. Through her impressive turn, Theron provides the movie with a strong female presence which is badly needed for the story. Also there is welcome to return for Max old boy Hugh Keays-Byrne, who played antagonist Toe Cutter into the very first installment.

Against the odds, George Miller has delivered an exciting and rip roaring return in Mad Max: Fury Road. One of the better movies you will witness this summer, the future of Max Rockatansky is looking a lot brighter!