REVIEW: “Ella McCay” (2025)

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“Ella McCay” marks James L. Brooks’s return to directing after a fifteen-year hiatus, but unfortunately, it doesn’t live up to expectations. It’s difficult to reconcile this film with the work of the director behind beloved classics like “Terms of Endearment,” “Broadcast News,” and “As Good as It Gets.” The movie feels flat and unsatisfying, and despite its efforts, it struggles to connect with genuine emotion or reality.

It’s disappointing because the movie clearly has a lot of talented people involved. Brooks is usually a fantastic director and storyteller, but he makes several missteps here. He tries to do too much with the plot, rushes important scenes, and doesn’t develop the characters fully. What’s most frustrating is that his usual genuine and insightful touch is missing, leaving the audience searching for a real emotional connection that’s hard to find.

Emma Mackey shines in the lead role, giving a compelling performance. However, the film’s story is bogged down by a confusing structure, filled with awkward flashbacks and tired plot tricks. It doesn’t succeed as a comedy, feels uninspired as a story about female strength, and ultimately fails to resonate as a drama – whether focused on family or broader political themes.

Ella’s life is incredibly dramatic, like something you’d see on a popular TV show. Growing up, she and her younger brother had a tough childhood because of their father, Eddie (Woody Harrelson), who repeatedly cheated on their mother. He lost his job at the hospital due to these affairs. When Eddie and their mother, Claire (Rebecca Hall), decide to start over in California, Ella chooses to stay behind to finish school and moves in with her Aunt Helen (Jamie Lee Curtis).

In 2008, Ella is a 34-year-old lawyer and the lieutenant governor of her state. She has a complex relationship with the governor, Bill Moore (Albert Brooks), who is focused on a possible job with the President. When Bill gets promoted and resigns, Ella becomes the interim governor for the next fourteen months. She’s eager to serve her state, but many in the political world view her as a temporary placeholder with limited power.

Ella’s mother passed away sixteen years ago, and she hasn’t spoken to her father in thirteen years – until he unexpectedly reappears, hoping to reconcile. Her husband, Ryan, is struggling with her recent success and is pushed by his overbearing mother to take advantage of the situation. On top of everything, Ella is also trying to support her brother, Casey, who has been isolating himself after a difficult breakup.

Unfortunately, the various dramatic elements don’t come together in a satisfying way, largely because the story is overly complicated and uses too much descriptive language. The film features a talented cast stuck with underdeveloped characters and roles that don’t offer much substance. Harrelson appears sporadically without making a real impact, and Kumail Nanjiani is underutilized as a driver and bodyguard. Hall’s part is little more than a brief appearance. Edebiri’s character feels unnecessary, and Lowden is saddled with a poorly written role that’s difficult to make compelling.

“Ella McCay” is a significant disappointment, especially considering it comes from a director as skilled as James L. Brooks. The film doesn’t live up to expectations and unfortunately wastes the talents of Emma Mackey and the rest of the cast, who struggle to make sense of a confusing and ultimately empty story. While the film seems to have good intentions, it’s a clear failure and a step down from Brooks’s previous, much stronger work.

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2025-12-17 18:57