James L. Brooks Returns with Mixed Results in ‘Ella McCay’

Renowned filmmaker James L. Brooks makes a long-awaited return to directing with Ella McCay, his first film in 15 years. The movie, which opens in theaters on December 12, 2023, stars Emma Mackey as Ella, a 34-year-old lieutenant governor navigating personal and political challenges. Despite Brooks’ impressive legacy, including accolades from projects like The Mary Tyler Moore Show and Terms of Endearment, the film struggles to find its footing.

Set in 2008, the story follows Ella as she is poised to ascend to the governorship when the current governor, Bill (played by Albert Brooks), is selected for a position in the president’s Cabinet. What could be a triumphant moment quickly becomes complicated due to the emotional burdens imposed by her husband Ryan (Jack Lowden), her agoraphobic brother Casey (Spike Fearn), and her unfaithful father Eddie (Woody Harrelson). Despite these familial distractions, Ella remains an optimistic figure, buoyed by the support of her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani).

While the film has its moments, Brooks’ storytelling lacks direction, veering away from the central narrative. Initially presenting a clear story about Ella’s challenges, the film meanders into various subplots that dilute its impact. The limited screen time given to key figures like her father and brother, who significantly influence her life, leaves the audience wanting more clarity on their roles. A subplot involving Casey’s quest to win back his girlfriend, Susan (Ayo Edebiri), adds to the disjointed narrative.

The political context remains vague, as the film hints at Ella and Governor Bill’s Democratic affiliations through a program aimed at assisting mothers in need. Nonetheless, the film fails to articulate Ella’s goals effectively, missing an opportunity to provide a meaningful commentary on contemporary politics. An unusual choice sees Ella boring fellow lawmakers, a trait that undermines her character’s appeal.

Despite these shortcomings, the performances of Mackey and Curtis stand out. Mackey, known for her role in Netflix’s Sex Education, brings a confident energy to Ella, making her character relatable even as the story falters. Curtis, who has often embraced over-the-top roles in recent years, delivers a grounded performance that offers comfort to Ella during her tumultuous days.

Brooks appears to invest more in developing his female characters, with Kavner providing some of the film’s best comedic moments, despite serving as an unnecessary narrator. In contrast, Harrelson’s character lacks depth, while Fearn’s portrayal of Casey is overly annoying, and Lowden’s performance feels similarly constrained by the script.

While James L. Brooks has a storied career with numerous acclaimed works, Ella McCay does not reach the heights of his previous successes. Nonetheless, it does showcase Mackey’s potential as a leading actress, proving her ability to elevate a narrative that otherwise struggles to maintain momentum.