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    Movie Review

    Cuteness and whimsy carry SNL alum's small Marcel the Shell with Shoes On

    Alex Bentley
    Jul 11, 2022 | 1:27 pm
    Cuteness and whimsy carry SNL alum's small Marcel the Shell with Shoes On
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    For some Saturday Night Live cast members, their time on the show is the highlight of their careers. For others, a long run on SNL pushes them into comedy superstardom. But for a select few like Jenny Slate, who was there for just two seasons, their time on show is a mere footnote, obscured by the success they’ve had once they were allowed to spread their wings elsewhere.

    Slate had not hurt for work since leaving SNL in 2010, scoring a slew of TV parts and starring in the acclaimed 2014 film Obvious Child. She’s also become a go-to voice actor for Disney and others, a career she started in 2010 viral video, Marcel the Shell with Shoes On. She’s now come full circle, as she and co-creator Dean Fleischer-Camp have expanded the short stop-motion videos they did into a full-fledged feature film.

    But even though the screen is bigger, the story remains as small and whimsical as ever. Marcel (Slate) is, as the title would suggest, a one-inch tall, one-eyed shell who wears shoes. He lives in a house with his grandmother, Connie (Isabella Rossellini), one that used to be occupied by a human couple but is now rented out as an Airbnb. The house’s latest tenant is a documentary filmmaker (Fleischer-Camp) who becomes fascinated by Marcel and records him going about his life.

    There’s little more to the plot than that, although the idea that the rest of Marcel’s family was accidentally taken when the former owner moved out comes into play. A search for the family winds up involving a bunch of would-be TikTok influencers and, somehow, 60 Minutes’ Lesley Stahl, but the film rarely steps outside of the house in which it started, keeping their world contained.

    What makes the humor of the film work is that there’s no struggle with trying to figure out how a shell has come alive or anything like that. Marcel merely exists and that’s good enough for Dean and everyone else with whom Marcel comes into contact in the film. And so when Marcel shows Dean the intricacies of his life, from using honey on his feet to climb walls to jury-rigging a mixer to help shake nuts off a nearby tree, we can just enjoy the quirks without thinking about it too hard.

    Of course, Marcel living in a human-sized world makes up a lot of the fun of the film. In addition to the aforementioned hacks Marcel has devised, other adaptations are a delight to witness, like using a bottle cap to drink water or hopping from key to key on a computer keyboard. The miniature nature of Marcel’s world comes close to cuteness overload, but the filmmakers never overplay their hand.

    The film being released by indie studio A24 should give viewers a good indication of the intended audience. While the PG-rated film is certainly family-friendly, it never panders or dumbs down its content. The stop-motion animation is deceptively simple, and stands out because it takes place in a recognizably human setting, making each movement all the more precious.

    Slate’s voice work as Marcel is most of the reason why the character is so lovable. With a sound that makes it seem like she’s holding her breath with every line, she makes Marcel into a completely believable being, stripping away any artifice. Fleischer-Camp is the straight man as the mostly-disembodied voice of the filmmaker, but he plays an important part in giving legitimacy to Marcel, and his earnestness is never in doubt.

    It was easy to be skeptical of how a character that previously existed in short YouTube videos could carry a whole film, but the performance of Slate, the excellent animation, and the uncynical storytelling makes Marcel the Shell with Shoes On the perfect balm in a summer dominated by blockbusters.

    ---

    Marcel the Shell with Shoes On opens in theaters on July 15.

    Marcel (Jenny Slate) in Marcel the Shell with Shoes On.

    Marcel in Marcel the Shell with Shoes On
    Photo courtesy of A24
    Marcel (Jenny Slate) in Marcel the Shell with Shoes On.
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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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