Izzy Gets the Fuck Across Town (2017)

07 Sunday Oct 2018

Tags

Alia Shawkat, Carrie Coon, Christian Papierniak, Comedy, Drama, Engagement, Haley Joel Osment, Los Angeles, Mackenzie Davis, Review, Romance

D: Christian Papierniak / 87m

Cast: Mackenzie Davis, Carrie Coon, Alex Russell, Alia Shawkat, Haley Joel Osment, Lakeith Stanfield, Annie Potts, Rob Huebel, Brandon T. Jackson, Sarah Goldberg, Meghan Lennox, Dolly Wells

Izzy (Davis) wakes one morning to find herself in the bed of a stranger (Stanfield). As she navigates leaving without waking him, she learns that her ex-boyfriend, Roger (Russell), is getting engaged to her best friend, Whitney (Goldberg), and there’s a party to celebrate that evening. Determined to get to the party and stop Roger from going through with it – she’s convinced he still loves her – Izzy sets off with plenty of time to get there. But obstacles soon present themselves. Her car isn’t ready at the garage, she can’t get enough money for cab fare, she takes a tumble on the bike she borrows and it’s too damaged to keep using, and the one person (Shawkat) who does give her a lift leaves her stranded in a neighbourhood she doesn’t know after going just a short distance. It’s only thanks to the help of another stranger (Potts) that Izzy is able to finally get to the engagement party. But when she does, things don’t exactly go as well as she’d planned…

There’s much to like in Christian Papierniak’s feature debut, not the least of which is Davis’s bullish, spiky performance, but Izzy Gets the Fuck Across Town is a movie whose episodic structure hampers both its flow and its effectiveness. It’s to be expected that Izzy will encounter setbacks in her journey to her ex’s engagement party, but it’s whether or not those setbacks are interesting or reflect on Izzy’s own emotional state that is the key. And that’s where Papierniak’s screenplay lacks consistency. Too preoccupied with trying to make eloquent statements about the nature of fate, or the validity of personal expectations and needs in relationships, the script often stops the action to contemplate these matters, and in doing so, negates the urgency of Izzy’s journey. What should be a more and more desperate race against time as the movie progresses, becomes instead a kind of semi-serious, semi-humorous series of bunny hops across Los Angeles as Izzy deals with one uninterested potential Samaritan after another (until Potts’s sympathetic romantic idealist comes along). Izzy herself is someone it’s well worth spending time with, and Papierniak is on firmer ground when she’s the focus of a scene, but the other characters don’t have anywhere near the same impact.

Again, this is largely due to the uneven nature of the script, and Papierniak not fully realising his thematic and subtextual ambitions. But it’s also due to a remarkable performance by Davis, who dominates the movie in a way that makes everyone else seem like they weren’t paying attention when Papierniak gave out notes. As Izzy, Davis is mercurial, fiery, amusing, good-natured at heart, abrasive when pushed, and altogether a person rather than an indie caricature (the drawback of both Shawkat and Osment’s characters). Only Coon as Izzy’s estranged sister, Virginia – they were a musical duo once before Virginia split them up – is as compelling, contrasting Davis’s messed up free spirit with a steely-eyed turn as a woman whose sense of responsibility is just as skewed as Izzy’s but in a way that has deadened her emotionally (there’s a hint that this could be Izzy’s ultimate fate but it isn’t developed any further). When it’s not trying to be serious about life and love, the movie is on much better footing, with a sly sense of humour that elevates the material, and there’s a bittersweet ending that feels antithetical to what’s gone before, but actually proves to be a bold move by Papierniak, and one that rounds off the movie much more effectively than if – well, you’ll just have to see for yourself.

Rating: 6/10 – although Davis steals the limelight and gives an indelible, finely-tuned performance, Izzy Gets the Fuck Across Town is let down by an uneven script and less than interesting secondary characters; that said, Papierniak isn’t afraid to throw in some odd stylistic choices that at least show he’s trying to do something different, and there’s a terrific moment that involves a bathroom, a change of lighting, and the exposure of past regrets.

Tully (2018)

23 Monday Jul 2018

Posted by dullwood68 in Movies

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Tags

Charlize Theron, Comedy, Diablo Cody, Drama, Family relationships, Jason Reitman, Mackenzie Davis, Mark Duplass, Motherhood, Night Nanny, Review, Ron Livingston

D: Jason Reitman / 95m

Cast: Charlize Theron, Mackenzie Davis, Ron Livingston, Mark Duplass, Elaine Tan, Asher Miles Fallica, Lia Frankland, Gameela Wright

Already finding it difficult to deal with having two young children – quiet but impressionable Sarah (Frankland), and Jonah (Fallica), who has an undiagnosed developmental disorder – Marlo (Theron) is pregnant with an unplanned third child. With her husband, Drew (Livingston), working long hours or having to travel a lot, Marlo is often on her own, and finding it increasingly hard to be heavily pregnant and a full-time mother to pre-teens. When the baby, Mia, is born, the pressure becomes too much, and a meltdown at Jonah’s school brings Marlo to the realisation that she needs help. Acting on an offer from her brother, Craig (Duplass), to pay for a night nanny, Marlo is surprised to find a young woman called Tully (Davis) arrive one night and begin to make her life a lot more easier. The two women forge a strong bond, and Marlo finds herself with a new lease of life. But one night, Tully is uncharacteristically miserable, citing an issue with her roommate. At her suggestion, she and Marlo head into the city for a night on the town, a decision that is to have serious consequences…

The fourth collaboration between director Jason Reitman and writer Diablo Cody – after Juno (2007), Jennifer’s Body (2009), and Young Adult (2011) – Tully is a heartfelt look at the narrow ledge some mothers find themselves traversing when motherhood proves overwhelming. Marlo appears to have been struggling ever since Jonah was born, both with his behavioural problems, and her own expectations of being a mother. With pressure from the outside competing with pressure from within, Marlo’s inability to manage consistently or even occasionally is a given, and Cody’s script has fun piling on heap after heap of setbacks and misfortune, while placing Marlo in the kind of family unit where her getting through the day is a major achievement. Is it anyone’s fault? Perhaps, but Cody and Reitman aren’t about assigning blame, they’re about rescuing Marlo from the mire she’s trapped in. And so we meet Tully, the damsel in shining armour, Marlo’s saviour and nascent best friend. As their friendship grows and becomes overly important in helping Marlo cope – she literally blossoms before our eyes – the bond between mother and daughter slips sideways until it’s about mother and nanny instead. There’s a love affair of sorts here, but it’s refreshingly chaste and wonderfully done.

The movie is blessed by two outstanding performances from Theron and Davis. For most of the movie, Theron – who gained nearly fifty pounds for the role – appears unflatteringly, big and sweaty and looking red-eyed and exhausted. It’s a powerful, nuanced portrayal, with subtle flourishes throughout, but she’s matched by Davis, whose own performance is flecked with delicate little touches, a look here, a twinkle there. Together, the two actresses are mesmerising to watch, and dominate the narrative. Inevitably, with two such strong female roles at the movie’s centre, the male roles fare badly in comparison, with Livingston’s unobservant husband continually out of touch (unless confronted with an impromptu ménage à trois), and Duplass’s self-absorbed, materialistic brother given little to do beyond looking baffled and out of their depth when discussing “women’s issues”. This isn’t necessarily a feminist tract – Marlo makes too many poor choices for that – but it is a celebration of female solidarity, though as the movie unfolds, issues surrounding mental health begin to make themselves more keenly felt. This leads to a last act swerve in the narrative that isn’t completely successful, but at least brings the story to a (by then) predictable conclusion. But Reitman – directing as confidently and intuitively as ever – and Cody, are more focused on Marlo’s journey than her destination, and in that they’re more than successful.

Rating: 8/10 – with Theron and Davis at the top of their game, and in service to a balanced and thoughtful script, Tully is a perceptive look at the perils of motherhood told exclusively from the viewpoint of someone who can’t see those perils for having to deal with them; the kind of indie comedy-drama that rewards viewers in increasingly subtle and unexpected ways, it’s a genuine, ready and willing to please movie that has much to say and which does so very succinctly.