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    Movie Review

    The Little Things a solid if imperfect entry in the crime drama genre

    Alex Bentley
    Jan 27, 2021 | 11:47 am
    The Little Things a solid if imperfect entry in the crime drama genre
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    At their best, crime dramas can be an intense experience as police and criminals engage in a cat-and-mouse game. The films are usually on the side of the cops, but showing the frailties of those supposedly on the right side of the law has become a popular aspect of many modern movies in the ever-expanding genre.

    In The Little Things, it’s the capability of the ones doing the investigating that’s put under a microscope. Joe Deacon (Denzel Washington) works for the Kern County Sheriff’s Department, but he is confronted with his past when he’s sent on an errand to his old stomping ground with the Los Angeles County Sheriff’s Department. It’s clear from his chilly reception that things did not end well there, although he doesn’t let that stop him from inserting himself into a new investigation.

    A series of women either have been murdered or gone missing, and the similarities to a case Joe handled when he was with the department are striking. He gloms on to Detective Jim Baxter (Rami Malek) to track the new case, and the two immediately find common ground in their dedicated-to-a-fault mentalities. As they hone in on their prime suspect, Albert Sparma (Jared Leto), their dogged personalities prove to be both a help and hinderance to the pursuit.

    Written and directed by John Lee Hancock, the film maintains a nice rhythm throughout. Although both Joe and Det. Baxter appear to have what it takes to be good cops, Hancock includes just enough scenes to plant doubt into the viewers’ minds. He doles out meager information about Sparma, with what is shown being more than enough to view him as supremely creepy, although whether that qualifies him to be a killer is called into question.

    The tropes of the genre keep the film going even when the story falters a bit. Hancock includes more than a few narrative leaps in logic, and it’s only because of similar films that have come before and talent of the cast that the missteps don’t stop the story’s momentum. The downtrodden cop looking for redemption is a cliché almost as old as film itself, but the movie features plenty of moments that help Joe and the story itself overcome that familiarity.

    At 66, Washington can no longer move like he once could, but he still has the presence that few others can offer. The way he narrows his eyes and seems to consider every word before saying it are just two of the many ways he elevates his role. Malek is an acquired taste. His type of acting doesn’t seem to fit well here, as he doesn’t have the gravitas or life experience to be completely believable. Leto, on the other hand, has a long history of being disturbing in different roles, and he makes the most of his limited screentime.

    The Little Things, the first of Warner Bros’ 2021 slate to go directly to HBO Max, is a solid if imperfect entry in the crime drama genre. It offers little that fans haven’t seen before, but some fine filmmaking and great acting make it a worthwhile experience.

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    The Little Things will debut in theaters and on HBO Max on January 29.

    Denzel Washington in The Little Things.

    Denzel Washington in The Little Things
    Photo courtesy of Warner Bros. Pictures
    Denzel Washington in The Little Things.
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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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