THE STORY – Set in an unnamed state in 2008, an idealistic 34-year-old lieutenant governor juggles familial issues and a challenging work life while preparing to take over the job of her mentor, the state’s longtime incumbent governor, who suddenly accepts a cabinet position in the incoming administration.
THE CAST – Emma Mackey, Jamie Lee Curtis, Jack Lowden, Kumail Nanjiani, Ayo Edebiri, Julie Kavner, Spike Fearn, Rebecca Hall, Albert Brooks & Woody Harrelson
THE TEAM – James L. Brooks (Director/Writer)
THE RUNNING TIME – 115 Minutes
There’s an unusual analogy that comes to mind regarding “Ella McCay,” but it actually manages to be applicable in this situation. This film marks the return of a once-notable figure who had been out of the public eye for some time. He had previously made a slew of classic films, many of which received major critical acclaim and Oscar nominations. However, as the tide of the cinematic landscape shifted, his output wasn’t as strong, and he recently seemed to fade into the background. The arrival of a new project after so many years brings a mix of deep skepticism and a glimmer of hopeful curiosity, a smidge of optimism that a once-great storyteller may actually be able to recapture the magic he once possessed. Last year, this description applied to Francis Ford Coppola when he finally unveiled his passion project, “Megalopolis,” to the world, only to receive a polarizing response. It may seem odd to compare such an audacious work to the first film from James L. Brooks in fifteen years, but the sentiment seems appropriate. And like that other effort, this film is not without numerous flaws, but it has an endearing spirit that makes it compelling.
The setting here is the long-ago era of 2008 politics, and Ella McCay (Emma Mackey) is the fresh-faced, 34-year-old lieutenant governor of a state that is never named but definitely has some East Coast/New England vibes. She is at a significant turning point in her career, as the governor (Albert Brooks) announces his resignation after accepting a cabinet position in the upcoming administration. What should be a joyous event signaling a significant promotion is met with a healthy dose of trepidation and anxiety. The new responsibilities showcase Ella’s passion for transformational reform in this leadership role while also exposing her lack of expertise in political negotiation. The role is also putting strain on her personal life, with her absentee father (Woody Harrelson) attempting to mend their broken relationship, and her husband (Jack Lowden) trying to capitalize on her new success for his own selfish gain. With a looming scandal also threatening to be made public, the very start of her new chapter could implode before she even has a chance to make any significant impact. She navigates these troubled waters as best she can, finding a path that’s still quite challenging but ultimately fulfilling.
Brooks has been responsible for some of the best cinematic explorations of complicated adult relationships in grounded, compelling settings. It’s not an immaculate track record, but “Terms of Endearment” and “Broadcast News” are incredible examples of his ability to showcase the complex dynamics between individuals, revealing the soulful humanity that yearns for connection, equal parts comedic, tragic, and bittersweet. Still, having not made a film in well over a decade, you can definitely feel an old pro not having the same spin on the ball. Brooks was never the most flamboyant when it came to showy filmmaking, and trading off the textured look of celluloid for a flatter digital sheen informs this aesthetic even more. However, even his screenplay is nowhere near as tight and exacting as his previous outings.
One too many plot threads bloat this narrative, particularly felt in the reconciliation storyline with Ella’s father, which is built upon a pedestrian foundation (another dead mom has entered the chat), and most of that humor rings hollow. Her brother (Spike Fearn) has his own sidequest concerning a past romantic entanglement that feels like a distracting tangent. The police officer serving as Ella’s escort (Kumail Nanjiani) doesn’t have too many scenes on his own, though an extended comedy bit between him and Joey Brooks, son of James, goes on for far too long. There’s no denying the overstuffed nature of this plot, which would have been better served by more streamlining rather than lingering on awkward staging and comedy bits that never really take off.
However, whenever the film is in danger of losing one completely, there’s a whiff of charm that manages to bring you back. You can say Brooks still has an antiquated sensibility. The film takes place around the time his last movie came out, probably because he didn’t want to engage with the messier politics of our modern era. In truth, we get no real sense of politics on either pole here. The parties are never mentioned, and Ella has a centrist aura that could fall on either side of the aisle; however, discussing specific political talking points isn’t the primary concern here. Ella’s ambition to enact real change that can help her modest constituents can come across as too old-fashioned, but her determination makes her journey engrossing. Yes, it’s cheesy, but sometimes you appreciate a filmmaker willing to embrace such dedicated expressions of leaders wanting to change a broken system when it’s deployed effectively. The execution isn’t consistently engaging, but Brooks crafts an alluring portrait. The relationships in Ella’s life are filled with fun characters who face their own flaws and overcome them through direct communication. That has always been at the heart of Brooks’s filmography, and even though that commentary isn’t as sharp, the exploration is still mostly enthralling.
Mackey’s performance, admittedly, can be a bit wobbly at times. It suffers the most when she appears in flashbacks and has to unconvincingly play a teenager with a more manic energy that gets grating. However, the more mature Ella retains some quirky traits from previous Brooks protagonists, while Mackey still makes her portrayal one of heart and sadness, which is quite enticing. She’s got decent chemistry with Lowden and Jamie Lee Curtis, who plays her aunt, both of whom hold opposing viewpoints in her chaotic life as she attempts to navigate her own path. The latter doesn’t have much as a character, but Curtis is fine enough in the role, while the image of insidious domestic villainy is well-suited in Lowden’s performance. Even when Fearn’s storyline starts to become tedious, there’s something to his portrayal that manages to work. He’s another one full of awkward speech patterns and shy energy, but it never steers that far into annoying territory. His scenes with Ayo Edebiri are surprisingly sweet, as well as surprising, to say that this is her best 2025 cinematic performance. Harrelson is the one thread that could have been excised entirely, as his scenes don’t add much to Ella’s character arc.
Yet, every performance could have been subpar if it meant that Albert Brooks could get his moment to shine. Every moment he appears feels like that old professional who walks in to show everyone how it’s done, and every line delivery captures the old magic of a James L. Brooks picture. He’s feisty without too much venom, amiable without too much cheese, and gets the best jokes that leave a lasting impression. One wishes he had contributed more to this narrative, as he is by far the ensemble’s best asset. The scene of Ella’s overlong inauguration, with the governor passing notes back and forth, is evidence of his incredible magnetism. It’s a shame the role is so small because Albert Brooks makes a meal out of it, delivering a dash of what the classic films in this director’s filmography used to deliver. We also see a bit of that traditional sensibility with Julie Kavner’s irascible supporting turn, but it’s Brooks who lights up the room every time.
For many, “Ella McCay” might seem too out of step with today’s modern landscape. Just as with Coppola, it represents a faded vision from a respected filmmaker whose once-solid grasp of riveting storytelling has become stagnant and lethargic. I can’t deny that some of those attributes are correct. There is a strangely antiquated atmosphere that doesn’t quite mesh with the harsh, darker vision on display in this political arena. Yet, what makes the film succeed, as much as it can, is that sincere commitment to advocating decency in a chaotic world. It demonstrates this ideology not only through its protagonist’s philanthropic ambition but also in how effortlessly charming these characters can be. Brooks still understands how to use that mixture of drama and comedy effectively, even if the commentary isn’t as sharp as it once was. However, with an absorbing ensemble delivering winning performances, one can find oneself won over by the charismatic nature of these individuals. It’s a bit wooden, but effective enough to be appreciated.
