Dino's vs The Volcano: Review of Jurassic World: Fallen Kingdom

Jurassic World: Fallen Kingdom

Director: J.A Bayona

By Alex Watson

Despite some fine visual touches and some solid direction from J.A Bayona- Jurassic World: Fallen Kingdom fails to live up to expectations. Saddled with a dull script and lack of narrative, this picture fails to advance what seemed like a promising reboot franchise. It provides plenty of thrills, but a sequel cannot succeed just on this element alone.

Years on from the disastrous failure of Jurassic World, Claire Dearing (Bryce Dallas Howard) has become a dinosaur activist. Isla Nubar is threatened with an eruption from an active volcano which could potentially wipe out dino life on earth once more. Eli Mills (Rafe Spall) proposes that Claire lead a rescue attempt for these creatures which includes recruiting disillusioned former Raptor trainer Owen Grady (Chris Pratt). However, Mills seems to take a particular interest in saving notorious female Raptor, Blue...

J.A Bayona does bring some delicate touches to Jurassic World: Fallen Kingdom, in particular, his Spielberg-like beginning where an underwater salvage mission soon results in a T-Rex attack. These types of moments are fine and give some small rays of sunshine. Then we come to the central plot which manages to gloss all events over the last three years. The corporation has paid out over $800 million in lawsuits and Owen and Claire had a failed attempt to at romance. From the moment Mills and his benefactor Benjamin Lockwood (James Cromwell) pitch their rescue mission- it is obvious something sinister is at play. Sadly, this soon gives way to a half-baked story about the corporation wanting to weaponize dinosaurs. Well, of course, they do!

What could have been an engaging story of against the clock survival is instead swept by in a matter of minutes. Bayona makes the volcanic eruption a spectacular thing and watching a Brontosaurus essentially left for dead in a cloud of volcanic smoke is gut-wrenching. Had the script stuck this type of affair it would have raised the stakes, instead, we get yet another dull formulaic story of corporate evils looking to profit off dinosaurs. Another key issue is the supporting characters, outside of the engaging Grady and Dearing, their co-stars are reduced to being the whiny nerdy guy (Justice Smith) and the tough-talking scientist (Danielle Pineda). Though veteran Ted Levine does have some fine moments as the villain Colonel Wheatley. The side story of Jurassic World most memorable dino Blue is also good- this is one Raptor that is a must-have for the corporation and throughout she gives this picture a little more soul and smarts.

The third act of Jurassic World: Fallen Kingdom does at least have some commendable thrills to make up for the lack of story. Set within the confines of the Lockwood mansion, it is very much a run and hide affair. One of the key surprises comes from a new hybrid dinosaur that Ingen has cooked up. This alone sends a few shivers down the spine as it runs amock. Bayona manages recreates the cold and creepy feeling that his breakout film 'The Orphanage' provided. While we are let down by an overly sentimental ending and a frankly awful mini twist, we least get some value for money during the home stretch.

Chris Pratt shows how he is fast becoming the main man for Hollywood franchises. Owen Grady is a character more complex than he first appears- his connection to Blue is one that gives this character a needed emotional depth. Pratt also makes good use of his trademark easy charm to win over his audience. Bryce Dallas Howard makes sure she wears more appropriate footwear for this outing. Although Claire Dearing suffers from a lack of development, Howard finds a way to rise above this and give a convincing performance. It is also great to see the return of Jeff Goldblum as Ian Malcolm, his appearance may be small but his character has lost none of its appeal or wit.

Jurassic World: Fallen Kingdom is a big missed opportunity for this franchise. Hopefully the return of Colin Trevorrow for the third outing with steady the ship.

A Head Full of Dreams: Review of The Mercy

The Mercy

Director: James Marsh

By Alex Watson

While this is perhaps a more restrained effort than expected, James Marsh does an excellent job of showing the plight of sailor Donald Crowhurst. The Mercy show demonstrates that the of dreams is very much the subject matter here and thanks to a wonderful measured turn by Colin Firth, we see first hand how sometimes risks do not pay off. The open oceans are the real villain of this piece and Marsh shows us that when facing nature- man is always powerless.

Donald Crowhurst (Colin Firth) is a struggling businessman and sailing enthusiast. Desperate to keep his failing business afloat, Crowhurst decides an around the world race to win a 5000 cash prize. Hopelessly inexperienced and sailing a boat seemingly doomed for failure, Donald still pushes on. When finally out in the ocean, he soon realizes he either faces ruin by turning back or certain death by continuing. Keen not to face oblivion, Crowhurst decides to make fake entries in his log book to hide his failure. 

The Mercy is a movie that puts both its audience and its main star through the emotional wringer. Early on, we realize that Crowhurst is a man of big dreams, but thinking big doesn't always equal success. His loving and devoted wife Clare (Rachel Weisz) clearly dreads the prospect of her husband sailing away into the unknown. Woefully underprepared, Crowhurst is more or less a weekend sailor taking the biggest risk of his life. Seeing an opportunity, sneaky publicist Rodney Hallworth (David Thewlis) comes forward and begins promoting Crowhurst's race as the ultimate underdog story. In reality, it is little more than a suicide mission and this man is a lot of more than bragging rights at stake. In the early stages, Marsh does an excellent job of mixing a bright optimistic outlook with a sense of swirling gloom overhead.

When this picture finally embarks on its open water voyage, it doesn't take long for the audience to realize that Crowhurst is in way over his head. His boat quickly falls apart and he appears set for certain failure. When he decides to fake his log book positions, he turns from being a plucky underdog to a forward-thinking survivor. His boat will not stay together in the condition it is in, but he also has to be careful. He cannot win the race but he also cannot come higher than last as it will arouse suspicion. While at sea, there is perhaps too much restraint and while Marsh does a fine job of conveying the sense of fear and desperation by Crowhurst, we don't feel the mania and isolation that would eventually result in his downfall. Simon Rumney's upcoming biopic 'Crowhurst' reportedly has this in spades. His pride is shown as the real driving force and having signed over everything to sponsor Stanley Best (Ken Stott), he has little option.

Few will be prepared for the devastating blow that The Mercy delivers in its final act. Throughout this picture we see Crowhurst keen to protect his family from embarrassment. His phone calls to them through Marsh's film have a resounding emotion to them. We can almost feel the shame radiating off our hero as he hears the pride in their voice. In reality, our hero is a man pushed into a dangerous situation simply to prove his worth. The context in which we should view Crowhurst as the victim is debatable and many different adaptations have put their own unique spin on things. This one is a lot more simple and paints the picture of a man just wanting his family to survive.

Colin Firth delivers a performance that is up there with some of his best. During the movie's key points he wonderful underplays the mania which Donald Crowhurst apparently descended into. He still maintains his typical stiff upper lip but he does a fine job of showing the continuous emotions washing across his face. Rachel Weisz is also strong despite limited screen time. Playing a wife who knows her husband may not make the trip, but is determined to support him anyhow, Weisz, as usual, is remarkable.

The Mercy is a movie which shows to devastating effect how even the best intentions can lead us down the wrong roads.

Someone in the Dark: Review of Hereditary

Hereditary

Director: Ari Aster

By Alex Watson

Every once in a while there comes a horror movie that is truly game-changing. In 2018, that movie Hereditary by first-time director Ari Aster. Coming across as a psychedelic mixture of  Nicolas Roeg's Don't Look Now and Polanski's Rosemary's Baby, Aster has created a rare beast. Throughout this picture is mind-jarring but also incredibly slick and clever too. Those of you who dare to see this will be processing what you have seen for days to come.

After the death of her estranged and troubled mother, miniature artist Annie Graham (Toni Collette) is trying to pick up the pieces. Soon after, she begins noticing some odd changes in her family, particularly with her daughter Charlie (Milly Shapiro) and her son Peter (Alex Wolff). After some other life-altering events, it becomes clear that something sinister is at play and that her mother's private life might have been something quite unholy.

Those of you looking for a formulaic horror movie with plenty of jump scares should look elsewhere. Hereditary is a much a smarter type of scary because Aster leaves it open his audience about how they want to be scared. This picture could have multiple meanings to decipher- is a commentary on mental illness? Is it a supernatural horror? Or is this a compelling look at the effects of grief? Part of the genius of this film is that Aster leaves things wide open. Annie is a woman picking up the pieces from a mother she excommunicated long before. When she tells the funeral gatherers that her mother was a private person with 'private rituals and private friends' we can sense immediately that something ungodly is lurking close by. What is so clever about Aster's film is how he dangles horror right before you, yet you don't notice it immediately. In some scene, we see Annie finishing up in her art studio and in the background you what appears to be a silhouette of her dead mother. You will notice it, your friend will jump but the reality only creeps in when you least expect it.

Aster never once gives his audience a break from the horrors and throughout he maintains a steady flow of unease. Each moment has something troubling close by, even in places where the characters should be safe. During scenes in the dark, our eyes will immediately scan the room and Aster does a great job of playing mind tricks on his audience.  There is also the notion of who exactly Annie can trust? Her husband Steven (Gabriel Byrne) is becoming progressively more concerned with her behaviour. Then along comes the amiable Joan (Ann Dowd) a seemingly friendly and sympathetic fellow grief sufferer. However, in Aster's world, she is immediately suspect and her intentions at first seem pleasant but why does she view Annie as a kindred spirit? The Graham family themselves are also not far from suspicion and as early on we learn that Annie's family has a history of severe mental illness. There are also some 'troubling' reveals about her history of sleepwalking too.

The impressive pulsing score by Colin Stetson is one of the key elements that make Hereditary such a unique experience. Literally sounding like doom itself, this sound makes you squirm uncomfortably. Aster along with DP  Pawel Pogorzelski do a resounding job of making the picture look the part. Little touches such as long swooping takes through the Graham household, to see a tree house lit by burning red lights give this movie its sickening horror. There is also the introduction of many of typical Hollywood horror staples late on. Demonic symbols are drawn, cults are introduced and we see a couple of very unsettling seances. Overall, Aster is very creative in finding ways to make sure his viewers need their hearts jumpstarted after the film's climax. There will be burning questions you need immediate answers to- sadly this will only be solved with time and multiple viewings.

Toni Collette gives a performance that is definitely the best of her career. Annie is a woman who is having problems thrown at her left, right and centre. Collette does a masterful job of showing a woman who is collapsing under the weight of this horrific activity. Frequently she is put to task during the pictures more emotional content, but Collette is more than equal to the challenge. Milly Shapiro is also a compelling supporting presence as the afflicted and social awkward Charlie. Through this performance is able to elicit both dread and sympathy in equal measure. A bizarre and strange looking child, Charlie is a young girl with some strange habits. Alex Wolff is also commendable as the pot smoking teen Peter. A young man on the precipice of adulthood, Wolff shows us a child who is also drowning under the weight of the emotional turmoil that Aster's movie summons up.

Hereditary is a movie that you will be discussing and obsessing over for some time after seeing it. Fair warning though, you may not be the same after viewing it!

Modern Romance: Review of Disobedience

Disobedience

Director: Sebastian Lelio

By Alex Watson

Sebastian Lelio is a director who seems to know the right way to produce heart-wrenching drama. His Oscar-winning 'A Fantastic Woman' showed a trans-woman who is openly oppressed while dealing with tragedy. In his new effort Disobedience, he focuses his attention on another forbidden romance. Throughout this picture, there is a repressed emotion that builds to almost stifling levels. Based within the Orthodox Jewish community, we see a love that is in every way forbidden but also deeply desired. Unfortunately, what should have been a blueprint for a movie of high feelings and tension instead has a rather deflated feel.

After years away in New York, Ronit Krushka (Rachel Weisz) returns home to her old community in London following the death of her Rabbi father. Previously ostracized for admitting her feelings for old flame Esti (Rachel McAdams), her return immediately causes friction amongst the Orthodox community. She also learns that Esti is now married to their old childhood friend Dovid Kuperman, who highly favoured by her late father. Both Ronit and Esti are still drawn to one another, but with so much at stake- can they resist?

While his previous effort had sparks popping frequently, Disobedience is a move that will likely polarize viewers. Lelio is well suited to the movie's emotional core and he does a fine job of portraying the mixed reception Ronit receives when she first returns. Declared dead by her old father and cast aside to the memory of the past, she is always fighting to exist within the community she grew up in. When she encounters Esti, Lelio does bring some wonderful repressed feelings to the surface. The problem we face here is that movie takes far too long to bring things to where they need to be. We understand early on that Esti is a woman trapped in a very traditional world and that Ronit's more free-spirited nature could bring both of them ruin. The sad part, this is where the movie's main focus seems to lie and Lelio spends too much time wallowing in this buttoned-up desire.

Part of the issue in this movie is the subject matter itself. Frequently we get the sense that this movie isn't entirely confident portraying the Orthodox community and instead shows it as a rather narrow-minded and confrontational one. Dovid, in particular, suffers as a supporting character and throughout we see him a staunched traditionalist whose views will inevitably collide with his wife's. Esti is confined to what seems like a miserable existence, but we never truly get the sense of why she is sticking it out? While is picture does portray some of the dangers of Esti and Ronit romance, it feels like it is simply running down the clock until the final confrontation between characters.

When showing the desire this romance holds, the picture feels more in its element. Ronit and Esti share a passion that has never dwindled. Both yearn to live a life of happiness, but there is an inevitability and fear of breaking free of what Esti knows. While we want this to be the great love tale of 2018, Lelio's remains far too focused on the differences between characters. During the movie's finale, the previously repressed feel is finally broken and during this stretch, there are finally bursts of colour. Sadly, we feel this is too little too late and we are left to reflect on what could have been.

Rachel Weisz is an extremely talented actress, but this role feels like familiar ground for her. She is used to playing these sort of outspoken and rebellious roles. While as usual, she has a strong presence on screen, Weisz doesn't feel like she is testing herself. Rachel McAdam's Esti is also slightly underwhelming and this character feels like a rather blank slate. One of Hollywood's most consistent actresses, she is fine in this role and it is a more daring one that she has previously played. However, McAdam's is giving precious little in return. Alessandro Nivola does a great showcase in subdued feelings and his Dovid is the one we come away feeling worst for. A committed yet old-fashioned husband, he simply wants his wife to stay.

Disobedience both delights and frustrates in equal measure. Sebastian Lelio is a magnificent director, but this picture feels like a mismatch for him.

Punch it, Chewie: Review of Solo: A Star Wars Story

Solo: A Star Wars Story

Director: Ron Howard

By Alex Watson

The filming of this production made as many headlines as the release did. Due to numerous creative conflicts, original director's Phil Lord and Chris Miller were dismissed and Ron Howard was brought into the steady the ship. As a Lucas disciple, Howard was the perfect man to bring Solo: A Star Wars Story to life. This picture is a fun prequel with an impressive cast to boot which provides a must needed dosage of Star Wars fun. However, fans may find themselves asking whether this picture adds anything new to this universe?

Han Solo (Alden Ehrenreich) is a talented but undisciplined pilot. Forced to flee the slums of his home planet of Correlia and abandon his lover Qi'ra (Emilia Clarke), Solo sets about reclaiming what he has lost. Gradually, he finds his way into the company of criminal Tobias Beckett (Woody Harrelson) who shows him the ropes of making serious money. Soon he will find himself boarding a ship named the Millenium Falcon and meeting his furry friend Chewbacca (now played by Joonas Suotamo).

Solo does a great job of reminding us of the scallywag charm that this scruffy looking nerfherder possesses. His early days of being a 'scrumrat' under the thumb of worm looking crime boss Lady Proxima (voiced by Linda Hunt) show a young man with barely any restraint. An impulsive yet forward-thinking rogue, his potential never fully blossoms until he encounters Beckett. This man frequently remains morally ambiguous throughout but Han treats him like the brother he never had. Tacking on a galactic heist theme could well have sent the plot spinning- but in the hands of Howard, it is utterly thrilling. Watching a gutsy heist on top of a speeding train is just one of the well-executed set pieces. The script by Empire Strikes Back helmer Lawrence Kasdan and his son Jake does tend to veer off the rails at points- in particular, its tendency to produce underwritten characters for extremely brief screen time.

From a nostalgia point of view, this story will satisfy tastes and due credit to the Kasdan duo who from very little have produced a believable backstory for our hero. It effectively answers any remaining questions Star Wars may have had before viewing. His alliance with Chewie is one that is excellently conveyed. At first, the pair are locked in combat, but they crawl out of the mud as reluctant partners. Ever wondered how on earth Han could understand this giant walking carpet? Well now's your chance! Lando Calrissian (Donald Glover) is also another resounding success and thanks in part to a silky yet pedantic performance from Glover, this smooth character breathes life into this prequel. Qi'ra however, doesn't quite succeed and this is mainly down to the character's having a severe lack of chemistry. We cannot feel any longing or connection whenever the pair appears onscreen and this is a love that is key to the plot!

While Solo succeeds on thrills, its script get knotted up with constant twists and double-crosses towards the film's climax. The unfortunate thing here is that we can see them coming from a mile away. The main cast produces a tandem of excellent characters who help carry this film on their shoulders. Sadly, there are a bunch of supporting characters who fail to hit the mark! Phoebe Waller-Bridge's continually griping L3-37 fails spectacularly at the comic relief aspect. What really lets Solo down is a lack of a convincing villain. Paul Bettany's crime lord Dryden Vos has presence but outside of looking threatening, he adds little to proceedings. Despite these minor glitches, there is still promises for these stand-alone adventures in the Star Wars universe. Who knows what they will cook up for the upcoming Boba Fett feature?

There are few actors who would have been a better choice to play Han Solo than Alden Ehrenreich. After impressing in the Coen Brother's Hollywood satire 'Hail Caesar', Ehrenreich has the gusty charm that Solo badly needs. Showing his trademark roguish smirk and carefree recklessness, Ehrenreich has captured the spirit of a legend. Woody Harrelson once more shows that he is Hollywood's go-to man when it comes to complex supporting characters. Beckett is a tough character to bring to life, but Harrelson manages to make his confusing morality seem plausible. Donald Glover nearly steals the show from under Ehrenreich but unfortunately, he isn't given nearly as much screentime as he deserves.

Solo is a movie that despite its problematic production is a much-needed dosage of Star Wars joy that will conquer our addiction until Episode 9 comes around! Resist the urge to hug the screen and yell "HOW YA DOIN' YA PIRATE?"

Red Mist: Review of Deadpool 2

Deadpool 2

Director: David Leitch

By Alex Watson

Deadpool proved that when played purely for laughs, that Marvel universe still had life in it. Deadpool 2 shows that this character is the funniest weapon in its arsenal. Again its storytelling does present certain flaws, but these are all happily overlooked. New director David Leitch (one of the two filmmakers who gave us John Wick) proves adept at finding a good balance between entertainment and violence. The marketing campaign alone deserved an Oscar and the finished product will have you ribs firmly tickled.

Still happily settling scores and making his usual brand of jokes, Wade Wilson/Deadpool (Ryan Reynolds) is living the good life with fiancee Vanessa (Morena Baccarin). Soon afterward though, his life begins to get turned upside down and the emerge of vengeful future warrior Cable (Josh Brolin) doesn't help matters. There's also the matter of an angry abused teenager Russel (Julian Dennison) who has quite a temper and seems to like playing with fire.

With a blood splattering introduction soundtracked to Dolly Parton's 'Nine to Five', the tone is set immediately. Deadpool 2 has lost none of its original's black humour and still isn't afraid to poke fun at the X-Men universe. Though the tone does wander slightly from the path as Wade Wilson finds himself in a very difficult place emotionally (spoilers to be withheld) and spends the movie in limbo. During this movie, the notion of having a family is continually put forward and as a loner, Wade is not used to considering others. Cable has come from the future to avenge his own families murder and he proves to be a thunder busting nemesis. With his metallic arm and continually moody scowl, his motives remain wonderfully ambiguous (though there is a wonderful Thanos joke thrown in for good measure).

Russell on the surface appears to be little more than a minor sidekick. Cleverly, his importance to the story becomes more and more significant. Introducing himself in a blaze of fire, you can literally see the fury in his eyes. Abused by his carers and branded an abomination, Russell has more than just attitude problems. Wade proves to be the catalyst here again as an offhand comment will set this young man on the road to ruin. For a movie that prides itself on lower humour, the emotional core runs deep in this one. Our hero spends the movie pushing away any sense of family, but his gradual realization sets about some truly touching moments. Also, this picture finds room to introduce more vital players to the Deadpool saga such as the wonderfully sassy Domino (Zazie Beetz) who finds a way onto the team as she's 'lucky'- something she constantly proves despite Deadpool's gripes. Plus keep an eye out for a blink and you'll miss it cameo from an A-list star!

Deadpool 2 might be the funniest picture of the summer, but sometimes these laughs can distract from the story. As Deadpool mentions at one point "that's just lazy writing!" and in places, this is likely true. While Cable is a vast improvement over the poor villains of the first piece, you feel the story perhaps wastes too much time over his bickering with Deadpool. Several minor characters are written in for laughs only to be killed off minutes later. The comedic touch, for the most part, is gold, but certain jokes just feel too drawn out- the Basic Instinct sequences where Wade 'full shirt cock's it' is funny but ultimately ends up feeling like one of those overly long Family Guy gags. However, when you so richly rewarded for your time, these gripes feel meaningless in the long run.

Ryan Reynolds is clearly having the time of his life playing this character. Happy to mock his first outing as the silent variation of this character, Reynold is becoming the master of self-parody. Even when matched against big-budget veteran Brolin, Reynold's somehow always comes out on top. He also proves excellent at handling the movies tear jerker moments too. Josh Brolin is also a welcome addition as the grizzled Cable and skillfully has found his way into yet another Marvel franchise. Kiwi actor Julian Dennison steals the supporting honors though. So memorable in the hilarious 'Hunt for the Wilder People', Dennison transforms from being a moody teen a wounded tiger in short measure and slowly becomes the future villain everyone fears.

Deadpool 2 is likely to become Marvel's flagship for comedic gold in future. Stay tuned as well for possibly the most hilarious post-credit sequence yet.

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.