Renowned filmmaker James L. Brooks marks his return to the director’s chair with the film Ella McCay, releasing in theaters on December 12, 2023. Known for iconic works such as The Mary Tyler Moore Show and Terms of Endearment, Brooks faces a challenging landscape in this latest endeavor. The film stars Emma Mackey as Ella, a 34-year-old lieutenant governor who navigates personal and political turmoil in an unnamed state during 2008.
Ella 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. This should be a moment of triumph for her, yet her aspirations are complicated by a series of personal challenges. These include her needy husband, Ryan (played by Jack Lowden), her agoraphobic brother, Casey (portrayed by Spike Fearn), and a father, Eddie (played by Woody Harrelson), whose infidelities add further stress to her life.
Despite these burdens, Ella remains resolutely optimistic, supported by her aunt Helen (played by Jamie Lee Curtis), her assistant Estelle (voiced by Julie Kavner), and her police escort, Trooper Nash (portrayed by Kumail Nanjiani). The film follows her over several days as she attempts to balance the demands of governance with the distractions brought on by her family and the pressures from those around her.
Brooks’ storytelling in Ella McCay often lacks focus, resulting in a meandering narrative. What begins as a straightforward character study devolves into a series of subplots that, while related to Ella, do not enhance the film’s overall impact. The roles of her brother and father, though pivotal in her life, receive limited screen time, leaving their complexities inadequately explored. Additionally, a subplot involving Casey’s attempts to win back his girlfriend, Susan (played by Ayo Edebiri), feels disconnected from the primary narrative.
The film’s political backdrop remains vague, with hints that Ella and Governor Bill lean towards Democratic ideals, particularly through a program she champions to assist mothers in need. Yet, Brooks fails to articulate Ella’s political ambitions clearly, leaving audiences uncertain about her goals. Moreover, a peculiar scene depicts Ella boring her fellow lawmakers, an uncharacteristic trait for a protagonist expected to inspire.
Despite these shortcomings, the performances of Mackey and Curtis stand out. Mackey, known for her role in the Netflix series Sex Education, brings a confident charm to Ella, making her character relatable even as the story falters. Curtis, who has often leaned into more exaggerated performances, offers a grounded portrayal that serves as a refuge for Ella during tumultuous moments. Their on-screen chemistry is a highlight and provides a much-needed anchor in the film.
Brooks appears to invest more into developing his female characters, with Kavner delivering some of the film’s best lines despite her role as a somewhat unnecessary narrator. In contrast, Harrelson’s character is underdeveloped, and both Fearn and Lowden struggle to make a significant impact in their roles.
While James L. Brooks has a storied career with numerous acclaimed projects, Ella McCay does not measure up to his previous successes. The film does, however, showcase Mackey‘s potential as a lead, proving her ability to elevate a narrative that otherwise risks falling flat.
