After a 15-year hiatus from directing, acclaimed filmmaker James L. Brooks returns with his latest project, Ella McCay, set to premiere in theaters on December 12. Known for his significant contributions to Hollywood, including The Mary Tyler Moore Show and Terms of Endearment, Brooks attempts to weave a narrative that explores the complexities of personal and political life through the eyes of its titular character, played by Emma Mackey.
Set in 2008, the film follows Ella, a 34-year-old lieutenant governor on the cusp of becoming governor of an unnamed state. The opportunity for advancement is overshadowed by challenges stemming from her personal life, including a needy husband, Ryan, played by Jack Lowden, a troubled brother, Casey, portrayed by Spike Fearn, and a father, Eddie, whose infidelities complicate matters further. As Ella navigates her political ascent, she is buoyed by a supportive aunt, Helen, played by Jamie Lee Curtis, and her assistant, Estelle, voiced by Julie Kavner.
Brooks’ storytelling, while ambitious, meanders through various subplots that detract from the central narrative. Although the film initially presents itself as a straightforward tale of Ella’s trials, it falters when diving into the lives of her brother and father, whose roles, though significant, receive insufficient development. The subplot involving Casey’s attempt to win back his girlfriend, Susan, played by Ayo Edebiri, adds confusion rather than clarity.
The political context of the story lacks focus, with hints that both Ella and Governor Bill, played by Albert Brooks, align with Democratic ideals. Ella’s advocacy for a program aimed at supporting mothers in need echoes current political themes, yet Brooks fails to establish her full goals within this framework. The portrayal of Ella as a figure who bores her colleagues in the legislature raises questions about her character’s appeal, which is puzzling for an audience expected to root for her.
Despite its narrative shortcomings, the film finds its strengths in the performances of Mackey and Curtis. Mackey, known for her role in Sex Education, delivers a compelling and optimistic portrayal of Ella, maintaining viewer interest even when the plot stumbles. Curtis, known for her more exaggerated performances in recent years, adopts a more restrained approach that provides a soothing presence for Ella, creating a dynamic that resonates well.
Brooks appears to invest more energy in his female characters, as evidenced by Kavner’s contributions, which, despite being narratively unnecessary, provide comedic relief. In contrast, the male characters, including Harrelson and Fearn, lack sufficient depth to resonate with the audience. Lowden’s portrayal of Ryan similarly suffers from a lack of substantial material.
Overall, while Ella McCay marks a notable return for Brooks, it does not reach the heights of his previous works. The film ultimately serves as a platform for Mackey to shine, showcasing her potential as a leading actress in a narrative that at times feels disjointed. As audiences prepare for its release, the film stands as a reminder of Brooks’ storied career, even as it struggles to reclaim the magic of his earlier successes.