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    Movie Review

    Broad stereotypes undercut message of movie musical Everybody's Talking About Jamie

    Alex Bentley
    Sep 8, 2021 | 3:03 pm
    Broad stereotypes undercut message of movie musical Everybody's Talking About Jamie
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    While movie adaptations of stage musicals have remained popular through the years, it feels like 2021 has become the year of the musical. It started with In the Heights, which will soon be joined by Dear Evan Hansen, Lin-Manuel Miranda's directorial debut tick, tick...Boom!, and Steven Spielberg’s version of West Side Story. Joining that group is one that may not be as familiar to American audiences, Everybody’s Talking About Jamie.

    Set in Sheffield, England, the film tells the story of Jamie (Max Harwood), an out-and-proud high school student. While it's a known fact around town that he's gay, he does harbor one secret: His dream of becoming a drag queen. With encouragement from his mom, Margaret (Sarah Lancashire), and his best friend Pritti (Lauren Patel), Jamie pursues his dream, finding help from local costume store owner Hugo Battersby (Richard E. Grant), who just so happens to be a drag queen who goes by the name of Loco Chanelle.

    Jamie’s dream doesn’t go unchallenged, though. His father, Wayne (Ralph Ineson), has essentially been absent from his life following a divorce from Margaret, with his mom doing her best to hide Wayne’s disdain for who his son is. Jamie also has a teacher, Miss Hedge (Sharon Horgan) who seems to undercut his ambitions at every turn, and a classmate, Dean Paxton (Samuel Bottomley), who takes every opportunity to bully and make fun of him.

    The original stage production team of writer/lyricist Tom MacRae and director Jonathan Butterell occupy the same roles for the movie. They do a good job in general in their roles, but their closeness with the project may have hindered their ability to translate it effectively from stage to screen. While broad characters and situations can work well in a theater setting, a movie usually requires more nuance, especially when telling a story like this.

    As the title would seem to indicate, the only person we get to know well is Jamie, although his mom is also showcased to a good degree. Everyone else is given only surface-level examination, which is especially troublesome when it comes to the antagonists of the story. Each comes across as either over-the-top or ridiculously unreasonable, personalities that weaken the message of the film as a whole. Most viewers will already want Jamie to succeed; there’s no need to stack the deck in his favor so egregiously.

    On the flip side, Jamie is not always a fully sympathetic character, which would be great if those scenes were treated in a believable manner. But just like those who don’t like him, Jamie acting in a petulant way over not getting exactly what he wants rings false based on what we know about him otherwise. His arc is also utterly predictable, which, given the relative uniqueness of his life, shouldn’t be the case.

    MacRae’s lyrics touch many of the right notes when it comes to conveying the sentiments of the story, but the songs themselves are a bit generic. Musical theater fans will find themselves with a sense of déjà vu throughout the film, as nearly every song sounds exactly like ones that have been doled out on stage for decades. The only song that stands out is “This Was Me,” with Hugo singing about being a drag queen and living through AIDS epidemic. Curiously, this is also the only song that was not in the original stage musical.

    Harwood, who’s making his film debut here, does a great job of embodying his character and has a nice voice. He could’ve modulated his performance better at times, but for the most part he succeeds. Grant and Horgan are the two best-known actors in the cast, with Grant rising above his thinly written character more than Horgan. Lancashire and Patel are both winning in their supporting roles.

    It’s fantastic that Everybody’s Talking About Jamie features a young gay character whose challenges lie beyond merely coming out to his friends and family. But the generic songs and broad stereotypes do the story no favors, making it into a musical that’s not for the ages.

    ---

    Everybody's Talking About Jamie will open in select theaters on September 10; it will premiere on Amazon Prime Video on September 17.

    Max Harwood and cast of Everybody's Talking About Jamie.

    Max Harwood and cast of Everybody's Talking About Jamie
    Photo courtesy of Amazon Studios
    Max Harwood and cast of Everybody's Talking About Jamie.
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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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