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    Movie Review

    The Oath takes on Trump-ism with an atom bomb of a comedy

    Alex Bentley
    Oct 18, 2018 | 3:54 pm
    The Oath takes on Trump-ism with an atom bomb of a comedy
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    After the election of Donald Trump, it was only a matter of time before a filmmaker would put out a fictional movie taking on the current administration, either in direct or indirect form. The first one to go all in on that concept is The Oath, a hilarious-yet-uncomfortable movie that may feel a little too real.

    The film, written and directed by Ike Barinholtz, centers on married couple Chris (Barinholtz) and Kai (Tiffany Haddish). The fictional presidential administration has announced that they are asking all Americans to sign a loyalty oath, with a deadline of the day after Thanksgiving.

    Chris and Kai, who are liberal, are hosting Thanksgiving dinner, with their guests including Chris’ conservative brother, Pat (Jon Barinholtz), and his girlfriend, Abbie (Meredith Hagner); Chris’ liberal sister, Alice (Carrie Brownstein), and her husband (Jay Duplass) and kids; and Chris’ moderate parents (Nora Dunn and Chris Ellis).

    With protests erupting around the country and people of opposite ideologies in close proximity, it’s only a matter of time before things start to blow up. But the directions those arguments take and the lengths Barinholtz goes to prove his points are wholly unexpected, wild, and supremely entertaining.

    There’s no doubt that the film plays like a liberal fever dream, with an authoritarian regime threatening anyone who doesn’t give in to their demands. Even so, one of the most notable aspects of the film is how real it feels. Most comedies of this sort exaggerate situations so as to make it as funny as possible, but Barinholtz accomplishes the same goal while keeping the story relatively down to earth.

    He does so by treating each of his characters as actual human beings instead of caricatures. Even if you disagree with what one of them is saying, he or she comes off as fully believable because Barinholtz gave the actors plenty of space to fully inhabit their individual roles.

    The balance of humor and drama is as tricky as you can imagine, as characters engage in some truly awkward arguments that would seem to preclude any jokiness. But the film somehow finds a way to bring things back around, and some of the most cringe-worthy moments are also the funniest.

    As great as the script is, the film would be nothing without its top-to-bottom stellar cast. Each role is filled to near perfection, with both Barinholtz brothers, Haddish, and Hagner getting the most time to shine. Special note should be made of Billy Magnussen and John Cho, who each deliver bravura performances in the final act.

    The release of The Oath just a few weeks before Election Day would seem to be no accident. It’s an atom bomb of a film aimed directly at Trump-ism, and to say it hits its target is an understatement.

    Writer/director/star Ike Barinholtz leads the cast of The Oath.

    The cast of The Oath
    Photo courtesy of Topic Studios and Roadside Attractions
    Writer/director/star Ike Barinholtz leads the cast of The Oath.
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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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