The twist at the end of Tully comes pretty much as expected for anyone familiar with Diablo Cody’s body of work, it plays right her preoccupations as a creator. You know how people enjoy dismissing artists work by pointing out the themes that they enjoy exploring, reciting the trivia list of their IMDb page as though that amounts to substantive criticism. Whatever, Cody’s writing has always been intergenerational, the interesting part of her evolution is in where she chooses to lay the focus.
There’s mess in the life of Christine “Lady Bird” McPherson. Nothing quite adds up for her in the way it’s supposed to, or maybe she’s just getting the sums wrong. It’s telling in a way that the character is bad at maths and you ever really find out what she’s good at. Aside from making a scene, or trying to be about as alive as she can be in any given moment. Her impulses rarely serve her well but they’re hers.
It’s immaculate. Always is, always was going to be.
Get this right, Gary Oldman ain’t actually a really fat dude, but in this film right here he is. Mind blowing right? That someone can just do that and make it a film. He’s not fat in real life. Wow.
See I guess it goes like this. David Leitch co-directs John Wick (uncredited though) with Chad Stahelski. Around the same time Charlize Theron is coming off filming Mad Max: Fury Road and now she got the hard proof of her action chops she moves into production of an adaptation of The Coldest City, a passion project that she’d been chasing for a while. She poaches Leitch from John Wick 2 and the two projects start shooting within basically a month of each other. They’re like legitimately, duelling pictures.
Y’all know going through this I was struggling to put the pieces together. Like, it seems almost impossible. Modern feminist filmmaker making a joint in which a bunch of women are all doting and fighting over this one man. What? Why? Feels like a misstep, I eventually got it though and once I did it became so much simpler.
Colin Trevorrow is one of the more uniquely incompetent filmmakers working the scene at the moment. Taking a break between the stresses of his major franchise work he decides to unleash a smaller, more personal film onto the world, the sorta joint where unconcerned by high budgets and pushy producers he can let a little more of himself seep down into the work.
It ain’t a comforting spectacle.