Ella McCay Review: James L. Brooks’ Latest Fatally Fails To Endear

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James L. Brooks helped create some of the most beloved sitcoms of all time, and went on to write and produce acclaimed films like Terms of Endearment, Broadcast News, and As Good As It Gets. This work suggests he’s one of the most skilled storytellers in Hollywood at building scenes and characters collaboratively – accepting and expanding on ideas rather than shutting them down.

A key idea in improvisational comedy is to embrace and develop what others offer, going beyond the obvious joke or ending. This director frequently uses this technique in his films, letting scenes play out far longer than expected. It’s proven incredibly successful, even earning him Oscars, as he takes simple ideas and transforms them into funny, moving, and deeply honest portrayals of human weakness. He’s inspired many filmmakers, including Cameron Crowe and Judd Apatow, who clearly borrow from his style. His approach has become almost synonymous with adult dramas that are both hilarious and emotionally powerful.

This film is the writer-director-producer’s first in fifteen years, and unfortunately, it doesn’t live up to their past work. The style of filmmaking they were once known for simply doesn’t resonate with audiences as much today. Unlike their earlier films, which felt genuine and relatable, this one feels messy, disconnected, and insincere. Instead of building a cohesive story, the film throws ideas at its talented cast so quickly that they seem to just accept everything without questioning the underlying purpose.

Emma Mackey Plays A Prototypical James L. Brooks Protagonist, But The Character Lacks Her Predecessors’ Spark

Emma Mackey, known for her role in Alpha, stars as McCay, a highly driven 34-year-old lieutenant governor. She gets a surprise opportunity when her boss, Governor Bill (Albert Brooks), is asked to join President Barack Obama’s administration. Bill is naturally charming and good at winning people over, while Ella is a dedicated and determined policy expert, though not always the most diplomatic. She’s married to Ryan (Jack Lowden), a supportive but unambitious husband who greatly admires her success.

Ella is considering a run for governor, which would make her the youngest governor ever, but she’s preoccupied with her brother, Casey. After their mother died when they were children, their father sent Casey away to military school, and he’s since struggled with agoraphobia – a fear of leaving home. Adding to Ella’s stress, her aunt Helen is trying to get Ella to reconcile with their father, who says he’s ready to apologize for his past mistakes and take responsibility for them.

James L. Brooks has a talent for creating lovable characters, even when they’re flawed, as seen in films like Terms of Endearment, Broadcast News, and As Good As It Gets. However, in his latest work, he seems to intentionally make it difficult to connect with anyone on screen, beginning with the character of Ella. While Ella is dedicated and driven, her relentless pursuit of ambitious goals—and willingness to steamroll anyone who gets in her way—makes her come across as more of a nagging scold than a passionate advocate. What initially seems charming about her determination quickly fades, especially during her governor acceptance speech, which feels like a long list of tasks rather than a moment of genuine inspiration, and unfortunately, that initial appeal never returns.

It’s hard to understand how someone so ambitious and popular could have been with such a seemingly clueless – and ultimately, bad – partner for so long. Ella’s aunt Helen mentions that some of her friends were wary of him early on. However, the way their relationship changes isn’t just a simple betrayal; it feels like a forced plot twist, unlike the realistic characters Brooks usually creates.

These two people are so different, it’s hard to imagine they could have ever truly connected. Their relationship, and the passionate affair that led to a public scandal involving meetings on government property, seems incredibly unlikely given their contrasting personalities.

The ongoing tensions between Ella and her family – particularly her brother and father – offer only shallow observations about family dynamics. These conflicts feel more like a way to justify Ella’s choices and create plot twists than to truly develop her as a complex character. David Fearn, who was difficult to understand and unlikeable in Alien: Romulus, is even more irritating as Ella’s brother, Casey. The movie spends too much time on his undefined social issues and a pointless romantic subplot, leaving you wondering why either was included.

Ayo Edebiri plays Casey’s girlfriend, but the movie doesn’t really explain why her character would be interested in him – and she’s only in a couple of scenes to try and show it. Unfortunately, it doesn’t quite work. This isn’t just her problem, though. Most of the actors, including Kumail Nanjiani, seem to be waiting for a clear direction or motivation for their roles, as the characters themselves aren’t well-developed. Only Curtis, playing Helen, manages to stand out, likely because her character is so dramatically larger than life.

I’m a huge fan of Brooks’s work and usually admire his insightful and deeply human stories. However, this film is not just disappointing—it’s truly awful. It’s painful to see such a talented director fail so badly, especially now. And it’s frustrating because the genre itself has been struggling to find an audience and funding, and this film unfortunately does it no favors.

The film Ella McCay takes place in 2008, during Barack Obama’s presidency. This likely seemed like a fitting time to portray a young politician full of optimism and idealism. However, looking back, the setting highlights how much has changed, not so much in politics, but in filmmaking. James L. Brooks was at the height of his career then, but his later work hasn’t resonated with audiences in the same way.

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2025-12-10 19:59