Stick with your own babies.
Tallulah (Ellen Page) has had a pretty rough life for a girl her age. Been on the streets and living in her van for a year now, she finds solace in her boyfriend (Evan Jonigkeit), who helps her out in ensuring that they continue to live on the street and be as free as they want. However, the two break-up one day and Tallulah is left with nowhere to go and absolutely no one to turn to. So, the next best thing, she believes, is her boyfriend’s mother, Margo (Allison Janney), who is surprised to find Tallulah on her door-step in the first place. After being denied once by Margot, Tallulah decides, for one reason or another, to visit her again, but this time, with a newborn baby in her arms. Why? Well, just because she knew that the baby’s mother (Tammy Blanchard), didn’t give a damn about it and was more or less not going to take care of it. However, Margo doesn’t know this and instead, believes Tallulah when she insists that it is her and her son’s baby. Meanwhile, the police are looking everywhere for Tallulah, trying to find this baby, while Tallulah and Margot get more acquainted.
Ellen Page and her baby troubles? Again?
Personally, I love the new entertainment-industry we live with today. It’s interesting that online streaming-devices like Netflix, Amazon, Hulu, and all of them, can not only create their own content for the world to see, but actually offer up something to see. Many people have ranted and raved about why this is such a big issue for the entertainment-industry as a whole, but it’s my own belief that it’s a good thing for the industry, as it allows for smaller, lesser-known stories to be told, talents to be seen, and products to be watched. Sure, you can make the argument that some of them aren’t even all that good (Crackle’s the Art of More, anyone?) and probably don’t deserve to ever see the light of day, but isn’t there something special about getting a chance to see what every provider can offer?
Even if the results happen to be as “meh” as Tallulah?
Cause after all, even though it definitely wasn’t produced as such, Tallulah is a low-budget, Sundance indie that would have probably never gotten the kind of audience, had it gone through the same old, usual crap of screenings and theater-showings. Is there anything wrong with going out to the movies to see a flick? Definitely not. But more and more people are getting scared of actual, big-time theaters themselves because, quite frankly, it’s really hard to promote your small movie if it’s just “meh”.
That’s why Netflix is here to save the day with Tallulah, a movie that is, in case you couldn’t tell by now, perfectly “meh”; it’s the kind of flick that wants to deal with real-life issues, like love, divorce, and motherhood, while also trying to develop its own characters. It’s successful in the later-portion, mostly due to the fact that the cast is so good. However, while watching Tallulah, there was a strange feeling I got where I thought to myself that I was supposed to be liking it more than I actually was.
See, it’s the kind of indie that’s so conventional, but likable, that you can’t really hate it. However, by the same token, it’s hard to really praise and love it, because you know that there’s plenty other better movies out there, sometimes, with the same cast. Obviously, I’m talking about another Janney-Page team-up involving a plot-driven baby movie like Juno, but still, that’s neither here nor there.
What I’m trying to say is that Tallulah, is fine.
Eh, whatever. Watch your baby better next time.
It can be funny and it can be heartfelt at times, but it never tries to aim higher than that, and it kind of brings itself down because of that. For instance, there’s this weird dream-sequence involving characters floating through the air, that’s supposed to be some sort of symbolism for how they’re getting torn-apart by life, or something, and it just never connects. Same goes for the whole subplot involving Tammy Blanchard’s mother character; while it’s nice that the movie bothers to even include this in the first place, it also takes up a lot of time and doesn’t really bring much to the movie. Blanchard is a good actress, however, her character is so thinly-written and boring, that after awhile, I was rooting against her, more than I was rooting for her and her possible reunion with her baby.
Then, of course, there’s Ellen Page and Allison Janney who are, as expected, great. Page’s role as Tallulah isn’t all that different from what we’ve seen her do before, but she still nails it and makes me glad to see her so charming and lovely again, as opposed to how moody she was in Freeheld and Into the Forest (that’s another movie that came out this week and I’m not doing a review on it because, honestly, it’s bad – like, really bad, so stay away). Janney is also great, showing a different side to her than we usually see, as a stern, and sometimes stand-offish woman, yet, we also grow to love her, the more we get to know about her.
Together, the two are the best thing about Tallulah. They’re relationship builds over time and feels real, honest and organic; they don’t start by loving one another, but they grow to learn how to do so and it helps their characters grow over time. While I would have probably loved to have seen a movie about them connecting, even without the baby, it still doesn’t matter – the baby serves a purpose and allows for them to come back together. The movie itself can sometimes feel like it’s bringing them down, but if anything, the two get past it and allow for themselves to be great.
Even if the movie they’re in, isn’t necessarily “great”.
Consensus: Easygoing and well-acted, Tallulah is a fine dramedy, even if it’s script isn’t always strong as its actors.
5.5 / 10
Jason Reitman – look what you’re missing.
Photos Courtesy of: Indiewire