James L. Brooks, the acclaimed filmmaker known for creating iconic productions such as *The Mary Tyler Moore Show* and winning three Academy Awards for *Terms of Endearment*, makes his return to directing with *Ella McCay*. The film, which opens in theaters on December 12, 2023, stars Emma Mackey as Ella, a lieutenant governor navigating personal and political challenges.
Set in 2008, Ella is poised to ascend to the governorship after Governor Bill, played by Albert Brooks, is selected for a position in the president’s Cabinet. Despite the potential for a triumphant moment in her career, Ella’s journey is complicated by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her unfaithful father, Eddie (Woody Harrelson). These familial pressures create a backdrop of personal turmoil as Ella strives to maintain her optimism and professionalism.
The narrative follows Ella over several days as she grapples with the demands of her role and the distractions posed by her family. Brooks’ storytelling, however, has drawn criticism for its lack of focus. What begins as a straightforward examination of Ella’s struggles soon meanders into subplots that detract from the main story. Notably, the limited screen time devoted to her brother and father feels disproportionate to their influence on her life. Additionally, Casey’s attempt to reconnect with his girlfriend, Susan (Ayo Edebiri), adds another layer that seems disconnected from the primary narrative.
The political landscape in *Ella McCay* remains vague and underdeveloped. While Ella and Governor Bill appear aligned with Democratic ideals, particularly through Ella’s initiatives to support mothers, the film does not effectively articulate her political goals. Instead, it offers a glimpse into her interactions with fellow lawmakers, leaving audiences unclear about her impact and ambitions.
Despite these shortcomings, the performances of Mackey and Jamie Lee Curtis stand out. Mackey, who gained recognition from the Netflix series *Sex Education*, delivers a compelling portrayal of Ella, maintaining her character’s likability even as the plot falters. Curtis, known for her more extravagant roles in recent years, adopts a more grounded approach, providing a stabilizing presence for Ella when she needs support. Their dynamic serves as one of the film’s strongest aspects.
Brooks demonstrates a clear preference for developing female characters, as evidenced by the humorous contributions of Julie Kavner, who, despite serving as an unnecessary narrator, delivers some of the film’s best lines. In contrast, the male characters, including Harrelson and Fearn, lack depth, with their roles not fully realized within the storyline.
Overall, while Brooks has a storied career spanning over 60 years, *Ella McCay* does not reach the heights of his earlier works. Nevertheless, Mackey’s performance shines through, showcasing her ability to lead a film and elevate its quality despite the narrative’s flaws. As audiences anticipate its release, the film stands as a testament to Brooks’ enduring influence on the industry, even if this latest effort falls short of his best.
