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    Movie Review

    The Big Short's star-studded look at housing market collapse is so funny it hurts

    Alex Bentley
    Dec 24, 2015 | 11:00 am
    The Big Short's star-studded look at housing market collapse is so funny it hurts
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    On the list of real-life events that most people would not want to relive, much less try to be entertained by, the housing market collapse of 2008 resides near the top. And yet here is The Big Short, directed by comedy filmmaker Adam McKay, attempting to bring a measure of levity to the worst financial crisis any of us hope to ever know.

    McKay does so by focusing on three groups of mostly unrelated people in the financial industry who saw the collapse coming and bet many millions of dollars on the idea that it would happen. They include Dr. Michael Burry (Christian Bale), leader of a hedge fund; Mark Baum (Steve Carell) and Jared Vennett (Ryan Gosling), two players on Wall Street; and Ben Rickert (Brad Pitt), a veteran banker who helps two green investors exploit the financial system.

    Each of them goes about betting against the housing market, or in financial lingo, “shorting” it, in different ways. Much of the humor of the film comes in how each of them, in the face of much derision, forges forward because of their foresight. At the same time, the situations contain either underlying or overt drama, since them being right means almost certain disaster for the country, if not the world.

    McKay and co-writer Charles Randolph know that the details of the financial market can be, to put it mildly, a bit dry. Even though they still use a lot of it because it’s unavoidable, they occasionally make it more interesting by having celebrities like Margot Robbie, Anthony Bourdain and Selena Gomez break concepts down so that non-experts can understand them.

    They inject additional comedy into the proceedings by giving many of the main characters big or quirky personalities, and by saddling each of the stars with ridiculous wigs. Carell and Gosling, previously co-stars in Crazy, Stupid, Love., get to go the most wild, while Bale and Pitt let their absurd hair do the talking for them.

    But as entertaining as some of the scenes can be, there’s no escaping the downbeat ending we all know is coming. It’s difficult to root for any of characters’ successes knowing that their gain is our pain. Even though none of them seems to do anything wrong, and some even express remorse about their role in the process, they’re never really “heroes.”

    The two big winners, acting-wise, are Carell and Bale, for almost opposite reasons. Carell’s role has more meat to it, as Baum’s incredulity and anger give him a lot to work with. Bale’s role is subtler but just as effective.

    Special credit should also be given to supporting actors like Rafe Spall, Hamish Linklater, Jeremy Strong, John Magaro, and Finn Wittrock. They each give true support to the stars, setting them up brilliantly time and again.

    In its own way, The Big Short is as vital a message movie as has come out in recent years. The downright depressing coda, which shows that almost nothing has changed in the seven years since the start of the crisis, should be a wake-up call for anybody who thinks this could never happen again.

    Steve Carell and Ryan Gosling in The Big Short.

    Steve Carell and Ryan Gosling in The Big Short
    Photo by Jaap Buitendijk
    Steve Carell and Ryan Gosling in The Big Short.
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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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