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    Movie Review

    Sandra Bullock and Channing Tatum navigate a comedic jungle in The Lost City

    Alex Bentley
    Mar 24, 2022 | 11:20 am
    Channing Tatum and Sandra Bullock in The Lost City.play icon
    Channing Tatum and Sandra Bullock in The Lost City.
    Photo courtesy of Paramount Pictures

    Although it was easy to miss while it was happening, it’s clear now that Sandra Bullock has been slowly but surely pulling away from acting. Bullock, who was pretty much good for at least one movie every year between 1992 and 2009, has been spacing out her appearances in the 2010s while she raised her kids. Now, she’s announced that The Lost City will be her final starring role for a good while so she can spend more time with her family.

    On the surface, the film fits right in with the rest of her filmography, which has featured mostly broadly appealing movies. Bullock stars as romance author Loretta Sage, who has grown tired of writing her series about Dash McMahon, especially since people have become much more interested in the cover model hired to depict the hunk, Alan Caprison (Channing Tatum), than her.

    That is, everybody except Abigail Fairfax (Daniel Radcliffe), a billionaire who believes that Loretta and her late archaeologist husband discovered the location of a lost city in their research. Fairfax kidnaps her and takes her to a remote island in the Atlantic Ocean. It’s up to Alan, Loretta’s agent Beth (Da’Vine Joy Randolph), and a very famous movie star in an extended cameo to rescue Loretta.

    Written and directed by the brother team of Aaron and Adam Nee, with help from co-writers Oren Uziel and Dana Fox, the film is very much a tale of two halves. During the set-up half of the film, laughs and even a bit of emotion come easily as the characters and the ridiculous plot are established. The first half also includes a hilarious turn by that very famous movie star — Brad Pitt — as an expert in pulling off high-stakes rescues.

    Unfortunately, the second half of the film fails to live up to the first as the filmmakers go down a series of rabbit holes that are neither funny nor thrilling. The premise of the film is supposed to put Loretta and Alan at odds at all times, but they wind up being equally clueless, defusing any narrative tension. Anyone hoping for an updated version of Romancing the Stone will be disappointed, as the romantic angle between the two of them doesn’t work either.

    The film also does a pretty bad job at making its location in an island jungle believable. Using what appears to be a combination of sets on a back lot and CGI, most of the film looks and feels fake. Even the scenes where it’s clear they’re actually outside have a veneer of falsity. It’s not a surprise they went that direction in the time of comic book movies, but the lack of effort into making the scenes feel like they’re in a real location is disappointing.

    Both Bullock and Tatum are game for whatever the filmmakers throw their way, but each of them has been much funnier elsewhere in their careers. Bullock maintains the relatable appeal that she’s had in most of her movies, but she can’t quite put the story over the top. Tatum pokes fun at the idea that he’s just known for his physique, but his performance still winds up being one-note.

    The Lost City is a middling adventure comedy that could’ve used a lot more of both genres. If this is to be Bullock’s last starring role for a while (she has a small role in the upcoming Bullet Train), it’s too bad it had to be in a film that doesn’t live up to its — or her — potential.

    ---

    The Lost City opens in theaters on March 25.

    Channing Tatum and Sandra Bullock in The Lost City.

    Channing Tatum and Sandra Bullock in The Lost City
    Photo courtesy of Paramount Pictures
    Channing Tatum and Sandra Bullock in The Lost City.
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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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