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    Golden Moments at the Globes

    Houston-born directors rule at Golden Globes; Tina and Amy's best jokes (including Cosby zingers)

    Alex Bentley
    Jan 12, 2015 | 1:15 am

    Despite being around for 72 years, the Golden Globe Awards have been and likely always will be the redheaded stepchild of awards season. They’re rarely a harbinger for awards to come, mostly because they’re voted on by the Hollywood Foreign Press Association instead of industry professionals, and because they do things like shoehorn Birdman into the Best Comedy/Musical category.

    The co-hosts were not as biting with their quips as they have been the past two years, but they still got off a few great zingers.

    But they’re usually the most entertaining of the awards shows, because the stars have no reservations about guzzling multiple drinks, leading to some truly delightful moments. Returning as co-hosts for the third and last time were Tina Fey and Amy Poehler, two former Saturday Night Live cast members whose bond only seems to grow stronger as the years go along.

    The co-hosts were not as biting with their quips as they have been the past two years, but they still got off a few great zingers. On Patricia Arquette’s nominated role in Boyhood, which she shot over 12 years, they noted that this proves there are still great roles for women over 40, as long as they’re hired before they turn 40.

    And they went after George Clooney yet again, pointing out that his wife, Amal Alamuddin, has accomplished a tremendous amount in her non-Hollywood career, yet it was Clooney who received the lifetime achievement award.

    But they reserved their most shocking jokes for Bill Cosby — no surprise given Fey’s history at jabbing the comedian for the rape allegations against him. No recap does their jokes justice, so here’s the video instead:


    cos by vidstuffs

    However, once they got past the opening monologue, Fey and Poehler turned relatively tame, and the usually raucous awards show seemed to follow suit. There was not one boozy presenter or award winner, save for the reliably naughty Ricky Gervais, although even he seemed to censor himself.

    That doesn’t mean the night was devoid of memorable moments. Among ones worth remembering:

    • A standing ovation for, of all people, HFPA president Theo Kingman after he proclaimed the HFPA’s support of free speech in the wake of the Charlie Hebdo shootings.
    • Rapper Common, who co-starred in Selma, gave an eloquent speech honoring the civil rights fight that continues to this day.
    • Two other SNL alums, Kristen Wiig and Bill Hader, who co-starred in The Skeleton Twins, were as funny as always when they presented the award for best screenplay.
    • Kevin Spacey, who had been nominated seven previous times before winning this year for his role on House of Cards, tested the censors with the line, “This is the eighth time I’ve been nominated. I can’t believe I f---ing won one.”
    • Michael Keaton delivered the most personal speech of the night after winning Best Actor, Comedy/Musical for Birdman, revealing intimate personal details. In paying tribute to his parents and his upbringing, he said his name is really Michael John Douglas, a fact many were sure not to know. He also had the line of the night while choking back tears: “My best friend is kind, intelligent, funny, talented, considerate, thoughtful … did I say kind? He also happens to be my son, Sean.” Keaton may or may not get to deliver another speech this awards season, so it was a pleasure getting a peek inside his soul, if only for a minute or two.

    Boyhood was the big winner of the night, taking home three awards, including Best Supporting Actress for Arquette, Best Director for Austin-based director Richard Linklater, who was born in Houston and graduated from Bellaire High School, and Best Picture, Drama.

    Birdman seemed destined for a similar trio of awards after winning for Best Screenplay and Best Actor, but The Grand Budapest Hotel, from Wes Anderson, who was born in Houston and graduated from the St. John's School, surprisingly won for Best Picture, Comedy/Musical. Anderson gave a witty acceptance speech where he thanked voters from the Hollywood Foreign Press Association by their first names, with a lot of Helga's and Helmut's thrown in.

    Other winners on the movie side included J.K. Simmons for Best Supporting Actor in Whiplash; Amy Adams for Best Actress, Comedy/Musical for Big Eyes; Eddie Redmayne for Best Actor, Drama in The Theory of Everything; and Julianne Moore for Best Actress, Drama in Still Alice.

    On the television side, the Amazon series Transparent made a splash by winning Best Comedy/Musical and Best Actor for Jeffrey Tambor. Showtime’s The Affair won for Best Drama, and Ruth Wilson was honored as Best Actress.

    Patricia Arquette won the Golden Globe for Best Supporting Actress in a Motion Picture for Boyhood.

    Patricia Arquette at the 2015 Golden Globe Awards
    Photo by Paul Drinkwater NBC
    Patricia Arquette won the Golden Globe for Best Supporting Actress in a Motion Picture for Boyhood.
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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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