Q: In this task, you are given a text of many news articles seperated by special token "|||||". Your task is to summarize them.
Written by Diablo Cody and directed by Jason Reitman, “Tully” is a remarkable portrait of new-mother exhaustion, with a soulful, lived-in performance by Charlize Theron. 
  
 Movie review 
  
 In the middle of Jason Reitman’s “Tully” is a remarkable portrait of new-mother exhaustion. Margo (Charlize Theron), after quite possibly cinema’s least romanticized depiction of childbirth ever, returns home with her third child to a marathon of duty. Waking up blurs into diaper-changing, which blurs into breast-feeding, which blurs into bouncing, which blurs into crying, and then it all starts again — the harsh-sounding rip of the snaps on the baby’s onesie; the clomp of the diaper-pail lid; Marlo’s dazed, quiet stare, desperate for sleep that never comes. The camera’s up in the middle of all of this; we are, too, and it seems unbearable. 
  
 Written by Diablo Cody (“Juno,” “Young Adult”), “Tully” is both ode to motherhood and tart reminder that it isn’t all smiles and sunshine. Marlo, who lives in a believably modest, disorderly house, has an older daughter who’s needing attention, a son who may be autistic, a newborn infant, and a husband (Ron Livingston) who’s pleasant but has a habit of gazing absently at the kids and saying “I thought we weren’t doing screen time?” A night nanny named Tully (Mackenzie Davis), whose services are offered as a gift by Marlo’s wealthy brother (Mark Duplass), seems like the only answer; Marlo initially resists, believing she should be able to do it all, but finally giving in. 
  
 And so begins a series of nighttime revelations for Marlo, who’s fascinated by Tully’s youth and earth-mama competence. (The nanny urges Marlo to kiss the baby goodnight; “she’ll be different in the morning.”) While “Tully” goes where you might expect, it takes some unexpected plot paths to get there, not all of which entirely hold up. But it doesn’t matter; the pleasure of this movie is in Cody’s sly barbs (the rich brother-in-law’s wife has a dog named Prosecco, and a kid whose talent-show skill is Pilates) and in Theron’s soulful, lived-in performance. Her Marlo, tough and smart and pushed nearly to the breaking point, is someone we know; maybe someone we were. Theron holds the movie in her hands and gives it to us like a gift; one we accept with joy. 
  
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 ★★★½ “Tully,” with Charlize Theron, Mackenzie Davis, Ron Livingston, Mark Duplass. Directed by Jason Reitman, from a screenplay by Diablo Cody. 95 minutes. Rated R for language and some sexuality/nudity. Opens May 4 at multiple theaters. ||||| Having a kid is hard. Having three kids—one of whom is a newborn baby—isn’t just three times harder. The challenges increase exponentially to the point of surrealism, a sensation writer Diablo Cody and director Jason Reitman nail with their latest comic drama, “Tully.” 
  
 In their third collaboration, Cody and Reitman have crafted no confectionery ode to motherhood. There’s no wacky mad dash to the hospital, followed by cataclysmic screams for comic effect. In the same vein as 2007’s “Juno” and 2011’s “Young Adult,” “Tully” unearths uncomfortable truths in a wry, wise way. It features Cody’s hyper-verbal brand of snark, cynicism and subtle poignancy, but it’s tinged with the wistful perspective that comes from hard-earned maturity and experience. 
  
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 Cody’s characters are growing up along with her; she actually wrote "Tully” after having a third child of her own, and the fact that this is such a personal story shines through from the very beginning. It’s at once intimately detailed and narratively ambitious. And it’s surprisingly profound, sneaking up on you with understated yet wholly earned emotion by the end. 
  
 Having Charlize Theron at the center once again gives “Tully” so much of its power. As she showed playing the stunted prom queen of “Young Adult,” Theron isn’t afraid to be unlikable, to get messy. Here, she visits deep, dark places within the female psyche as well as the sanctity of suburbia, and her every moment on screen (which is pretty much every minute of the film) vibrates with hilarious, brutal honesty. 
  
 We actually see her belly before we even see her. Theron’s Marlo is days away from giving birth to her third child—which wasn’t exactly planned at age 40—and she’s about to pop. She already has an 8-year-old daughter, the sweetly insecure Sarah (Lia Frankland), and a 6-year-old son named Jonah (Asher Miles Fallica), who’s somewhere on the autism spectrum and on the verge of being kicked out of kindergarten. Her husband, Drew (an appropriately low-key Ron Livingston), means well, but he often travels for work and doesn’t really understand what it takes to keep the household functioning on a daily basis. 
  
 Whatever delicate balance they’d achieved gets obliterated with the arrival of baby Mia. The subtle look on Marlo’s face once she’s given birth isn’t one of euphoria or even exhausted pride. It’s something closer to detached anxiety: Change is coming, and she knows she needs to deal with it, but she’s just not ready. 
  
 Enter Tully (Mackenzie Davis), the night nurse Marlo’s wealthy, smug brother (Mark Duplass) has offered to hire as a gift to her. At first, Marlo is offended at the suggestion that she can’t mother her children on her own, but she gives in once the delirium of sleep deprivation takes its toll. “Tully” vividly and efficiently depicts the isolating nature of those early days at home with an infant: a never-ending cycle of feeding and pumping, crying and diaper changing, when you can’t recall at the end whether you’ve set foot in the outside world, much less showered or brushed your teeth. Marlo has two other kids who need attention, too, and she finally acknowledges that she could use some help. 
  
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 Tully is that, and so much more. Perky and fit at 26, she’s Mary Poppins in a belly-baring tank top, full of wisdom beyond her years about a wide variety of topics. She’s plucky and quirky, wide-eyed and openhearted, a down-to-Earth free spirit who always has the right bit of advice for every situation. She also tidies up the house overnight while Marlo catches up on much-needed sleep, and even finds time to whip up some whimsical cupcakes for Jonah’s class. 
  
 She’s a nanny pixie dream girl—or at least, that’s what she initially seems. Cody’s characters are far more complex than the superficial facades they’ve constructed for themselves might suggest, and that’s especially true of Tully. Watching Theron engage with the hugely appealing Davis is a joy to watch. They have tremendous chemistry from the get-go, which only deepens and becomes more compelling as they get to know each other over nights of sangria and reality TV. (Marlo has a thing for the guilty-pleasure “Gigolos” on Showtime.) 
  
 Tully reminds Marlo of who she used to be at that age, when she lived a boho chic life in a Brooklyn loft. And she tries to enlighten Marlo about the woman she’s become years all these later—not just a wife and a mom, but a great mom: “Great moms organize class parties and plan casino nights,” Marlo insists. (As one of those moms myself, I can assure you: We don’t necessarily think we’re great moms, either.) It’s sad and universally relatable, but we really should give ourselves more credit. 
  
 The ultimate message of “Tully” is the importance of self-care: When everyone’s relying on you to take care of them, you need to take care of yourself first. Also: just because you’ve created a person, that doesn’t mean you have to abandon entirely the person you used to be. That all may sound trite or New Agey or both, but it’s worthwhile. 
  
 Like “Young Adult,” “Tully” actually could have been a little longer. You want to spend more time with these fascinatingly flawed, deeply human characters. As Tully puts it when she suggests that Marlo should kiss her baby good night before going upstairs to sleep: “She’ll be different in the morning—and so will we.” The sense of possibility within those changes is what’s exciting. 
  
  
  
  ||||| Mackenzie Davis , left, and Charlize Theron in a scene from “Tully.” (Photo: Kimberly French / Focus Features) 
  
 Marlo is a mother of three at the end of her rope in “Tully,” a sharp, honest, gloves-off comic-drama about the pressures and difficulties of motherhood. 
  
 As the overworked, overstressed Marlo, Charlize Theron gives a bold, gutsy, glamour-free performance. The Oscar winner gained 50 pounds to play the role, and she makes a seamless transition into a suburban mother giving her all to keep her family afloat. Theron hasn’t been this good since “Young Adult,” her last teaming with director Jason Reitman and writer Diablo Cody. 
  
 “Tully” picks up as Marlo is pregnant with her third child. She has a kindergarten-aged son with behavioral issues — school administrators describe him, frustratingly, as “quirky” — whose arms she brushes at night to keep him calm. Her husband, Drew (Ron Livingston), works long hours and gets into his sweats and plays video games in bed at night. For Marlo, life is a loop of taking care of the kids, making dinner, keeping the house tidy and repeating the cycle the next day. 
  
 After Marlo gives birth, her well-to-do brother, Craig (Mark Duplass) offers a solution: A night nanny. She can take care of the newborn at night so Marlo can get some sleep. She can also clean up, bake cupcakes for her kid’s classroom and perform other chores Marlo and her husband have no time to tackle. 
  
 Marlo and Drew bristle at the offer — they don’t want to owe Craig anything, or more to the point, have Craig be able to hold something over them — but eventually they fold. The night nanny, Tully (Mackenzie Davis, “Black Mirror’s” “San Junipero” episode) arrives and instantly forms a bond with Marlo, and helps her take care of all the things stacked up on her plate. 
  
 For a while, “Tully” unfolds as an advertisement for the wonders of a night nanny: Look at all she does, look what she’s able to handle! A bill should be written into law giving all overburdened mothers a night nanny to help with their stress, and “Tully” seems to be championing that cause. In that way, the movie gets a bit thin, until its third act when it becomes about much more and takes on a far deeper meaning. 
  
 Reitman is at his best when he’s working with Cody — the pair also teamed up on “Juno,” for which Cody won an Oscar — and “Tully” is a return to form, after his disastrous, tone-deaf “Men, Women & Children.” “Tully” gives an unvarnished look at domestic life that is rare in its brutal honesty. Films about motherhood are usually sprinkled with sugar and served with a plate of freshly baked muffins still warm from the oven. This one’s not. And when’s the last time you saw a film about the difficulty of a third child, not a first? 
  
 Theron and Davis are magic together, with Davis projecting a warmth that rounds out Theron’s character’s harsher edges. They’re a dynamite team. 
  
 And Diablo, known for her snappy dialogue, gives Theron some zingers to play with. 
  
 “I feel like an abandoned trash barge,” Marlo says early on, later offering, “my body looks like a relief map for a war-torn country.” 
  
 The lines land like truth bombs coming out of the mouth of Theron and in the hands of Reitman’s domestic veracity. “Tully” has no shortage of empathy for its characters, and it respects them too much to let their struggles go unheard. 
  
 agraham@detroitnews.com 
  
 (313) 222-2284 
  
 ‘Tully’ 
  
 GRADE: B+ 
  
 Rated R for language and some sexuality/nudity 
  
 Running time: 96 minutes 
  
 + 
  
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A:
An exhausted mother of three is convinced to hire a night nurse in Tully, from writer Diablo Cody and director Jason Reitman, the same pair responsible for 2007's Juno. Tully, starring Charlize Theron, has an impressive 90% rating from critics on Rotten Tomatoes. What they're saying: Theron, who gained 50 pounds for the role of Marlo, delivers a "bold, gutsy, glamour-free performance"—her best since 2011's Young Adult, also from Cody and Reitman, writes Adam Graham at the Detroit News. Equally refreshing is the film itself. It's a "gloves-off comic-drama about the pressures and difficulties of motherhood … that is rare in its brutal honesty," Graham says. Cody wrote the film after having her third child, "and the fact that this is such a personal story shines through from the very beginning," writes Christy Lemire at RogerEbert.com. "It's at once intimately detailed and narratively ambitious. And it's surprisingly profound, sneaking up on you with understated yet wholly earned emotion by the end." Theron and Mackenzie Davis as Tully are both good, Lemire adds. "They have tremendous chemistry from the get-go." But it's Theron who "holds the movie in her hands and gives it to us like a gift; one we accept with joy," writes Moira MacDonald at the Seattle Times. "Her Marlo, tough and smart and pushed nearly to the breaking point, is someone we know; maybe someone we were," she adds, calling the film an "ode to motherhood and tart reminder that it isn't all smiles and sunshine." Tully "transforms itself from a garden-variety tale of harried parenthood into something stranger, more honest and even magical," writes Michael O'Sullivan at the Washington Post. While he doesn't give away how this happens—"it involves one of filmdom’s great bits of storytelling trickery"—he says "the choice is a bold and thrilling one."