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    Kickstarter Film Fail

    Can we get our money back? Zach Braff's Kickstarter film fails to deliver

    Alex Bentley
    Jul 20, 2014 | 11:35 am

    Zach Braff touched a lot of hearts, including mine, with his self-assured directorial debut, 2004’s Garden State. So much so that thousands of people dug into their own pockets to help finance the Kickstarter campaign for his long-awaited follow-up, Wish I Was Here.

    Well, I wish it weren’t so, but it appears as though all those people have backed a failed venture. Garden State was a clear-eyed film that knew how to tap into the feelings of a generation, both with its story and its music, but Wish I Was Here is a muddled mess that lacks purpose.

    Garden State was a clear-eyed film that knew how to tap into the feelings of a generation, but Wish I Was Here is a muddled mess that lacks purpose.

    Perhaps the start of the problem was that Braff thought he could slide by in creating a somewhat similar story. This time around he plays Aidan Bloom, who’s also a struggling actor with a load of issues surrounding his father, Gabe (Mandy Patinkin). Aidan doesn’t need to look for love, though, as he’s already in a seemingly steady marriage with Sarah (Kate Hudson), and they have two kids (Joey King and Pierce Gagnon).

    When Gabe has a cancer relapse and can’t afford to pay for his grandkids’ private school tuition, it sends Aidan into a bit of a tailspin, as he tries to figure out how to handle the double dose of bad news.

    Although the movie seems to have a relatively straightforward plot, Braff, who co-wrote the film with his brother Adam, loses the thread soon after Gabe’s revelation. He hopscotches around from scene to scene with no clear idea on why any of them is important.

    Scenes with the kids, whom Aidan is forced to home school, never gel, mostly because Aidan seems like an uninvolved dad who has no clue how to relate to his kids. A story arc of redemption would seem to be called for, but the film never comes close to selling it, meaning the children are mostly props.

    The film’s other relationships also fail to satisfy. The bond between Aidan and Sarah is a strange one, and Braff kind of sugarcoats a particular issue that would be a massive problem in most marriages. Aidan has a brother, Noah (Josh Gad), but for the life of me, I can’t see why he needed to be in the film at all. The only connection that actually comes across is the one between Aidan and Gabe, but even that could’ve used more seasoning.

    Plus there are baffling interludes showing Aidan in a sci-fi costume with a floating robot sidekick. These scenes are supposed to recall when Aidan and Noah pretended to be heroes when they were kids, but the import of the symbolism fails to make the translation from Braff’s brain to the screen.

    Even with all of the story problems, several performances make the film palatable. Hudson shows that her best years may be ahead of her; playing a wife and a mother suit her well. King and Gagnon have both impressed in other roles, and they do nothing to diminish their rising stars here. And it’s always a pleasure to spend some time in the company of Patinkin, whose wizened face seems to hold the truth to just about anything.

    The soul of Wish I Was Here might have come out with more focus or better editing, but that's just wishful thinking. All that Braff fans can hang onto is knowing that we can still go home and enjoy Garden State again.

    Zach Braff may seem like a cool dad in this scene in Wish I Was Here, but looks can be deceiving.

    Pierce Gagnon, Zach Braff and Joey King in Wish I Was Here
    Photo byMerie Weismiller Wallace, SMPSP Focus Features
    Zach Braff may seem like a cool dad in this scene in Wish I Was Here, but looks can be deceiving.
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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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