The highly anticipated return of acclaimed filmmaker James L. Brooks comes with the release of his latest film, Ella McCay, set to hit theaters on December 12. After a 15-year hiatus from directing, Brooks attempts to weave a narrative centered around a woman navigating the complexities of political ambition, personal challenges, and familial obligations.
Set in 2008, the film follows Ella, played by Emma Mackey, who is poised to become the governor of an unnamed state. Her ascent is complicated by the outgoing governor, Bill, portrayed by Albert Brooks, who has been selected for the president’s Cabinet. Ella’s path to success is further obstructed by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her unfaithful father, Eddie (Woody Harrelson).
While the premise promises a compelling exploration of a woman’s rise in politics, the execution falters. Brooks’s storytelling meanders, diluting the focus on Ella and her struggles. The character dynamics, particularly involving her brother and father, are underdeveloped, leaving viewers wanting more depth. Casey’s subplot, which revolves around his attempts to rekindle a relationship with his girlfriend, Susan (Ayo Edebiri), feels like an unnecessary distraction.
Political themes are present, but they lack clarity. Although hints suggest that Ella and Governor Bill may lean Democratic, Brooks fails to establish a cohesive political narrative. This oversight detracts from the film’s potential impact, as Ella’s objectives remain vague throughout. Furthermore, scenes depicting Ella’s interactions with fellow lawmakers, where she bores them with her speeches, undermine her character’s intended appeal.
Despite these shortcomings, the performances of Mackey and Jamie Lee Curtis stand out. Mackey, known for her role in the Netflix series Sex Education, brings a blend of confidence and relatability to Ella, keeping her engaging even amid the film’s shortcomings. Curtis delivers a nuanced performance, providing a comforting presence for Ella as she navigates her challenges. Their chemistry shines, making them the film’s most compelling aspect.
Brooks seems to prioritize his female characters, crafting stronger roles for them compared to the male counterparts. Julie Kavner offers humor in her role as Ella’s assistant, although her narration feels somewhat unnecessary. In contrast, Harrelson’s potential as a charming antagonist is underutilized, while Fearn and Lowden’s portrayals leave much to be desired, possibly due to the limitations of their characters.
In a career spanning over six decades, James L. Brooks has produced numerous influential works. However, Ella McCay does not reach the heights of his previous successes. The film’s redeeming quality lies in showcasing Mackey’s talent, proving her capability to lead a film and elevate its narrative, even when the story falters.
As audiences await the film’s release, Brooks’s latest endeavor serves as a reminder of both his strengths and limitations as a filmmaker in today’s cinematic landscape.
