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    Call a leer a leer

    True confession: Who doesn't want to see Jennifer Love Hewitt playing a Texasmom turned massage parlor hooker?

    Chris Baldwin
    Jul 18, 2010 | 4:58 pm
    • The Client List is another opportunity for Jennifer Love Hewitt to show off allher wardrobe choices.
    • Deep sociological study? No. Maxim magazine cover come to the small screen? Yes.
    • Jamie-Lynn Sigler explored similar territory in an equally-classy USA originalmovie.

    OK, I'll admit. it. I'll be watching Lifetime at 8 Monday night or more likely DVRing it.

    Unlike Baltimore Sun TV critic David Zurawik, I'm not going to pretend there are some deep sociological examination motivations behind the unlikely tune in either. No, this is all gratuitous viewing, all about seeing Jennifer Love Hewitt playing a hot mom turned massage parlor prostitute. (As a bonus, she's a Texan in the movie from a fictional town, guaranteeing unbelievable accents).

    Yes, it really is as classy as it sounds.

    Like many in my generation, I grew up watching Jennifer Love Hewitt on Party of Five (though I was much more of a Neve Campbell man back then) and while this show choice is a largely embarrassing admission today (re-watch Party of Five these days and it's so over-the-top angst-riden that it's hard to imagine anyone could have ever enjoyed it let alone made it appointment TV like I did), it's a key to Lifetime's original movie The Client List.

    The formula for basic cable networks' most buzzed-over productions is pretty simple these days: Put a beautiful former TV series star in a role where she'll have good cause to wear a lot of lingerie.

    See Jamie-Lynn Sigler in the USA original Call Me: The Rise and Fall of Heidi Fleiss. High-brow marketing it's not.

    Which is fine as long as people don't pretend it's something else. There's nothing wrong with some trash TV. The reason that Jennifer Love Hewitt has been dominating Google search trends for most of the weekend has absolutely nothing to do with a desire from budding amateur sociologists to investigate what could cause a young mom who lost her job to go into massage parlor hookerdom. Instead, it's all about a desire to see what basic-cable-testing outfits Lifetime's stuffed Hewitt and her considerable assets in.

    Still, critics like Zurawik (and he's not the only one) cannot help themselves.

    "Normally, I wouldn't be writing about a made-for-TV movie on prostitution," the Baltimore Sun's prominent TV voice begins his piece. "But The Client List starring Jennifer Love Hewitt, is different. The sociology of this Lifetime film that premieres Monday night at (8) is what matters."

    Sure it is.

    Zurawik continues later, "That's what makes The Client List worth looking at and thinking about: It is all about prostitution as it relates to the economy. Furthermore, I believe it is barometer, as only pop culture can be, of how bad the economy is still perceived to be by middle-class Americans. And that means big trouble for Democrats come November. But let me explain how Jennifer Love Hewitt as a prostitute speaks to the anxiety and pain middle-class Americans are feeling today."

    Yes, he made the argument that a titillating tone Lifetime original could hurt the Democrats at the ballot box four months from now. Come on Zurawik!

    You've seen the clips on The Joy Behar Show where Jennifer Love Hewitt talks about the movie with Joy as a running montage of scenes of Hewitt in negligees from The Client List plays on a big screen in the background (by my count, there are three different babydolls alone and a whip cream scene, not that I could concentrate on such frivolities while concern for the Democrats' hold in Congress was racing through my mind).

    And Lifetime's own poster of the movie features a basic cable nude Hewitt sprawled across a bed while a shadowy man leers in the background. In other words, the poster shows what most of the viewers of this "classic character study" will look like.

    Even Hewitt isn't trying to sell the movie as basic cable's version of an Oscar winner. This isn't HBO. They're not even pretending it's high art.

    Trash TV may rule the world, but let's not pretend it's saving it too.

    Now if you'll excuse me, I have a DVR to program.

    A preview of the deepness that is The Client List:

    unspecified
    news/entertainment

    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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    news/entertainment

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