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    Movie Review

    Avengers: Endgame is everything Marvel fans could want and more

    Alex Bentley
    Apr 25, 2019 | 3:45 pm
    Avengers: Endgame is everything Marvel fans could want and more
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    What each viewer will want out of Avengers: Endgame depends on their devotion to the Marvel Cinematic Universe. I used to decry Marvel for compelling fans to see each and every one of the previous 21 movies to keep up with the larger storyline connecting them all. In this film, all of that prior knowledge finally comes to a head, and to say that it rewards loyal viewers is an understatement.

    Picking up in the aftermath of Thanos’ (Josh Brolin) infamous snap that turned half of all living creatures into dust in Avengers: Infinity War, the surviving Avengers must regroup and see if there is any way forward. The road map ahead will require all of the brainpower of heroes like Tony Stark/Iron Man (Robert Downey, Jr.), Bruce Banner/Hulk (Mark Ruffalo), and Natasha Romanoff/Black Widow (Scarlett Johansson), combined with the brute strength of Steve Rogers/Captain America (Chris Evans), Thor (Chris Hemsworth), and Carol Danvers/Captain Marvel (Brie Larson).

    And that is about all that’s safe to say about the plot. However, given that there’s another Spider-Man movie coming out this summer, and plans have already been made for sequels to both Black Panther and Guardians of the Galaxy, it’s no spoiler to say that those characters — almost all of whom were killed in Infinity War — and others return in Endgame. But how they return is best left to discover upon viewing.

    The film, as you can tell by the title, represents the end of an era for MCU Phase One characters like Iron Man, Captain America, Thor, Hulk, Black Widow, and Hawkeye (Jeremy Renner), no matter what actually happens to them individually. That naturally brings up a lot of emotion, but how directors Joe and Anthony Russo and writers Christopher Markus and Stephen McFeely deploy those feelings is a welcome surprise.

    What the filmmakers, along with producer Kevin Feige, have learned over the course of these movies is that smaller is usually better. There’s a time and place for epic scenes — and this film contains the most epic of epic scenes — but the audience won’t care about the outcome of those battles if the filmmakers haven’t taken the time to allow us to connect with the characters.

    Over and over again, Avengers: Endgame offers up small moments that contain huge amounts of emotion. These moments can be heartbreaking, hilarious, or infuriating, but they all serve the purpose of seeing each character — no matter their species — in a human light. That even goes for Thanos, and when you can make the audience feel empathy for a giant purple guy who’s destroyed half the universe, you know you’re doing something right.

    Much of what happens could rightly be called fan service, but Feige and the other protectors of the MCU have proven, especially in the last three years, that they know how to shape scenes without ever forcing the issue. Thus, no matter how many times they call back to previous films or pair characters in unlikely but cheer-worthy ways, each moment feels earned and respectful of the audience’s intelligence.

    A movie like this is as sprawling as they come, and yet they still find a way to incorporate almost every main character in a meaningful manner. There are a few notable misses, and Hawkeye still seems to get short shrift despite having his most usage to date, but it will be the rare fan who doesn’t come away satisfied with how his or her favorite character is used in the film.

    Avengers: Endgame is everything Marvel fans could want and more. It will be interesting to see how the MCU moves into the future after the events in the film, but woe be upon anyone who doubts their ability to adapt and succeed mightily.

    Robert Downey, Jr. in Avengers: Endgame.

    Robert Downey, Jr. in Avengers: Endgame
    Photo courtesy of Walt Disney Studios
    Robert Downey, Jr. in Avengers: Endgame.
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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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