A nostalgic return to grown-up comedies for theaters turns bittersweet as James L. Brooks’ Ella McCay delivers sincerity without spark
The Snapshot: Despite its good intentions and strong performances, Ella McCay struggles under the weight of an unfocused script and lackluster humor.
Ella McCay
4 out of 10
PG, 1hr 55mins. Comedy Drama.
Written and Directed by James L. Brooks.
Starring Emma Mackey, Jamie Lee Curtis, Jack Lowden, Kumail Nanjiani, Spike Fearn, Woody Harrelson, Julie Kavner and Albert Brooks.
Now Playing at Cineplex Winston Churchill & VIP and Cineplex Oakville & VIP.
On one hand, it’s nice to an old-fashioned, sensible comedy movie for grown-ups coming back to theatres, especially since these kind of modest, actor-driven films are now largely regulated to streaming services instead of getting cinema releases like they deserve.
On the other hand, it’s a shame the championing effort is Ella McCay, the well-meaning yet aimless new film from veteran filmmaker James L. Brooks.
Part of what makes Ella McCay so disappointing to watch is that there’s a lot of likeable parts: the cinematography, music, tone and direction are all well placed to tell the story of up and coming political star Ella (Emma Mackey) genuinely working hard to make her unnamed state a better place and forgive her dysfunctional family.
But however charming and committed the cast is, and however experienced Brooks may be as a director, the story is drawn out, surprisingly unfunny, spread across too many subplots, and ultimately incoherent.
Brooks is best known for his decades in producing television comedy, ranging from The Mary Tyler Moore Show to The Simpsons – but he’s also an Oscar winner for films in the 80s and 90s like Terms of Endearment and As Good As It Gets.
Despite being a veteran of American comedy, this film is shockingly empty of humour. The scenes and witty one-liners are often dry and meant to inspire thought instead of warmth. That kills any of the entertainment value in an otherwise heartwarming story.
This is largely on Brooks’ screenplay, as the ensemble cast plays affably through most moments, and being sincere as opposed to entertaining. Great actors like Woody Harrelson, Ayo Edebiri, Julie Kavner and Albert Brooks are all underused – only Kumail Nanjiani’s Trooper Nash succeeds at landing his punchlines.
It’s also odd seeing the one-sided natures of the men in Ella’s life. Why must her husband, Dad and boss all be so untrustworthy and self-serving?
Their choices and Ella’s engagement with them, for example, don’t share insight or ideas into female empowerment. All of these characters only treat her badly to create added conflict for her to face.
While the film loses its focus in being much fun to watch, it’s still well produced and features a skilled ensemble connecting with each other on screen, which is a refreshing change of pace in both modern comedy and drama.
It’s a winsome story that’s pleasant, but the political turmoil comes up hollow in the drama and the thin subplots of too many characters in Ella’s life prevent Ella McCay from standing out in a busy holiday season at the multiplex.
