Mistakes nihilism for hollowness. Never sure whether it wants to be a more blunt TAXI DRIVER or an arthouse DEATH WISH, it stops in the middle of the road having too little to say. Greenwood's score, though.
It's as if Diablo Cody/Jason Reitman chose to make a film focusing on one of those people Charlize Theron's character in YOUNG ADULT immensely despises. And, even if TULLY is not nearly as sharp or thought-provoking as that film, there are things to admire: Theron's nuanced performance and her great chemistry with Mackenzie Davis, the insight into contemporary marriage and motherhood, and Cody's usual witty one-liners. In order to make the twist more palatable, the script goes through stilted and strange ways, and the supporting characters are very flatly outlined. Still, it's a fun and interesting film.
There are films that, even before you watch them, you know you’re going to fall in love with them. Then, there are also films that when you watch them, you know they’re going to stay with you forever. “Call Me By Your Name”, the latest masterpiece by Luca Guadagnino, falls into these two categories.
The screenplay, based on André Aciman’s novel, was written by the great James Ivory (also responsible for that other brilliant work of queer cinema, “Maurice”).…