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    Movie Review

    Selah and the Spades thinks high school is all drama and no fun

    Alex Bentley
    Apr 16, 2020 | 3:10 pm
    Selah and the Spades thinks high school is all drama and no fun
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    Movies about high school or kids of high school age are rarely experimental with their stories. They tend to deal with ideas like young love, budding sexuality, cliques, and bullying, things that are universal no matter where a person attended school. But every now and again, filmmakers attempt to stretch the boundaries of what a high school movie can be.

    That’s definitely the case with Selah and the Spades, which is set at a private school where different factions help the student body engage in vices like cheating in classes, illegal parties, gambling, and, of course, drugs and alcohol. That last vice is the purview of the Spades, led by Selah (Lovie Simone), who rules over her small kingdom with an iron fist with the help of her friend Maxxie (Jharrel Jerome).

    When a new student, Paloma (Celeste O’Connor), comes in, Selah takes her under her wing in a bid to groom her as the new leader of the Spades when Selah graduates. Her crusade, however, is complicated by the ambitions of the leaders of the other factions, a suspicious administration, and her own hubris.

    Written and directed by first-time feature filmmaker Tayarisha Poe, the film feels like a mixture between Dear White People and Heathers, although it has no interest in having fun. The usual high school film would use the presence of the factions’ vices to engage in all manner of hijinks, but those things are deadly serious in this film. More than one student winds up getting a beatdown when they don’t abide by the code of keeping the goings-on secret.

    More to the point, Poe is only truly interested in one faction – the Spades. She shows the factions meeting and interacting on multiple occasions, but everything revolves around Selah and her controlling personality. How the other factions go about their business is barely touched upon, but we get lots of details about what types of drugs the Spades sell, how they keep track of who orders what, and more.

    What the film doesn’t have is much narrative momentum. There are teases of a story, like allusions to a past incident that haunts Selah or the factions bickering about who’s really in charge. But none of it adds up to much and there doesn’t ultimately seem to be anything at stake. A moment toward the end that would be a game changer in any other film falls flat, feeling more like the status quo for these particular characters.

    Also, it’s unclear what to make of the fact that the faction called the Spades, a term that has been used as a slur toward African Americans, is made up entirely of black students. Did Poe, who herself is black, intend it as a reclaiming of the word? The film does not address any racial divisions that may exist at the school, although it’s notable that the headmaster, portrayed by Jesse Williams, is black.

    On the positive side, the majority of the actors come off well, delivering performances that never undermine the dramatic material. Simone, best known for the OWN series Greenleaf, has a cool confidence that makes Selah a force with which to be reckoned. Jerome, who won an Emmy for his role in When They See Us, makes the most of his time on screen. O’Connor and Anna Mulvoy Ten make roles that could have been one note into something much more interesting.

    Selah and the Spades is not an escapist film by any stretch, so it’s hard to say if it will have an appeal for the high school crowd or adults. But given that it’s premiering on Amazon Prime Video instead of in theaters, it might stand a chance to garner an audience looking for something new.

    ---

    Selah and the Spades premieres exclusively on Amazon Prime Video on April 17.

    Lovie Simone in Selah and the Spades.

    Lovie Simone in Selah and the Spades
    Photo courtesy of Amazon Studios
    Lovie Simone in Selah and the Spades.
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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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