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    Movie Review

    Jumanji: The Next Level earns another high score in comedy

    Alex Bentley
    Dec 12, 2019 | 4:25 pm
    Jumanji: The Next Level earns another high score in comedy
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    Movies based on video games have been notoriously bad over the years, with very few managing get across what makes video games appealing. So, naturally, it took a movie about a fake video game, Jumanji: Welcome to the Jungle, to succeed where so many others had failed. Now the makers of that 2017 film are hoping that lightning can strike twice with Jumanji: The Next Level.

    The four unfortunate teenagers who got sucked into the video game in the first film do so again after Spencer (Alex Wolff) unadvisedly goes back into the game to search for extra meaning to his life. In the midst of a rescue mission by his friends, the game glitches, grabbing not only Martha (Morgan Turner) and Fridge (Ser’Darius Blain), but also Spencer’s grandfather, Eddie (Danny DeVito), and his friend, Milo (Danny Glover).

    That glitch mixes up their characters, with Eddie becoming Dr. Bravestone (Dwayne Johnson), Milo becoming “Mouse” Finbar (Kevin Hart), Fridge becoming Professor Oberon (Jack Black), and Martha remaining as Ruby Roundhouse (Karen Gillan). The switched personalities offer plenty of opportunities for the actors, especially Johnson and Hart, to act completely unlike their normal selves.

    In fact, the plot of the film — which involves something about the characters having to recover a stolen jewel in order to defeat the game — takes a backseat to the humor that comes from having each of the actors/characters in the game take on the personalities of the actors/characters outside of the game. That sentence can make things sound complicated, but it works like a charm in the context of the film.

    Having Johnson and Hart act like old men who now have the physical gifts of younger men is the gift that keeps on giving. You’d think that Johnson scrunching up his face or Hart talking slowly would get old, but those and other “older” traits, combined with the physicality of the action scenes, works every time.

    Gillan and Black get in on the fun to a lesser degree. Their less distinctive non-game counterparts are not as entertaining, but each of them knows how to amp things up to keep the movie humming. Late movie appearances by Nick Jonas, Awkwafina, and a majestic black horse only make the proceedings more fun.

    Writer/director Jake Kasdan and co-writers Jeff Pinker and Scott Rosenberg, each of whom worked on the first film, have a knack for keeping the pedal to the metal without ever going off the road. They mix together clever twists, new elements, and callbacks, including a fantastic nod to the original 1995 film, for a result that works extremely well.

    Johnson has made a number of questionable decisions in his acting career, but being part of the growing Jumanji franchise is not one of them. Jumanji: The Next Level disproves the law of diminishing returns with sequels thanks to a bevy of humor, action, and actors exploring their full capabilities.

    Awkwafina and Nick Jonas in Jumanji: The Next Level.

    Awkwafina and Nick Jonas in Jumanji: The Next Level
    Photo by Frank Masi
    Awkwafina and Nick Jonas in Jumanji: The Next Level.
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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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