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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

    Emma Mackey in Ella McCay.

    Photo courtesy of 20th Century Studios

    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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    Awards Season

    CultureMap critic's guide to the 2026 Oscar Best Picture nominees

    Alex Bentley
    Jan 22, 2026 | 2:00 pm
    Michael B. Jordan and Miles Caton in Sinners
    Photo courtesy of Warner Bros.
    Sinners leads all films at the 2026 Academy Awards with a stunning 16 nominations.

    The nominations for the 2026 Academy Awards have been announced, with 10 films vying for Best Picture. Leading the way is Sinners with an astonishing 16 nominations, the most in Oscars history.

    The other top films include One Battle After Another, which earned 13 nominations, and Marty Supreme, Frankenstein, and Sentimental Value, which each got 9 nominations.

    As a refresher, below are links to the full reviews for each of the nominees covered by CultureMap in the past year, as well as brief thoughts on the films and their various nominations.

    Movie fans will have plenty of time to catch up with each of the nominees, as this year's Oscars ceremony will not take place until Sunday, March 15.

    Here's the list of Best Picture nominees, in alphabetical order:

    Bugonia
    Yet another off-the-wall film from director Yorgos Lanthimos features two great performances by Emma Stone (nominated for Best Actress) and Jesse Plemons at its center. Written by Will Tracy (nominated for Best Adapted Screenplay), the conspiracy theory film is alternately brutal and funny as the characters played by Stone and Plemons use their form of power to try to manipulate the other. With a fair amount of intrigue and two great actors going head-to-head for much of its running time, it gives even more Oscar pedigree to its filmmakers and stars.

    F1
    The biggest surprise among the Best Picture nominees has to be the racing movie F1. It was a technical marvel, to be sure, as its nominations in Film Editing, Sound, and Visual Affects attest. But the fact that it has no other nominations in any of the above the fold categories indicates that its other qualities are lacking. As a showcase (aka advertisement) for the sport it depicts, the film works relatively well. As a complete movie, though, there’s not much to recommend, to the point that it almost negates any of the positives that come from the racing scenes.

    Frankenstein (not reviewed)
    Writer/director Guillermo del Toro (nominated for Best Adapted Screenplay) loves himself a monster movie, and he takes on one of the classics with his new version of Frankenstein (now streaming on Netflix). Oscar Isaac plays Victor Frankenstein, who brings to life The Creature, played by Jacob Elordi (nominated for Best Supporting Actor). With a slew of nominations in technical categories, there's a chance this film goes home with a lot of awards at this year's ceremony.

    Hamnet (not reviewed)
    Writer/director Chloé Zhao (nominated for Best Director and Best Adapted Screenplay alongside co-writer Maggie O'Farrell) gets back to her Oscar-worthy skills for the first time since 2020's Nomadland (after the unfortunate detour into the MCU with Eternals). A story about love, loss, and grief involving William Shakespeare and his wife, Agnes, the film is most notable for the performances of its two leads, Jessie Buckley (nominated for Best Actress) and Paul Mescal.

    Marty Supreme
    There was no other movie this year, or maybe even this century, like Marty Supreme. Directed and co-written by Josh Safdie (nominated for Best Director and Best Original Screenplay alongside co-writer Ronald Bronstein), the film is an almost continuous blast of pure energy for 2 ½ hours. So many different things happen over the course of the film that the story defies conventional narratives. At its center is the fast-talking, powerhouse performance by star Timothée Chalamet (nominated for Best Actor), who cements his status as his generation’s movie star one year after playing the polar opposite role of Bob Dylan in A Complete Unknown. Look for the film to be a strong contender in the inaugural Best Casting category, as Safdie fills the film with non-actors who are crucial to the film's success.

    One Battle After Another
    Writer/director Paul Thomas Anderson (nominated for Best Director and Best Adapted Screenplay) has an acclaimed career going back 30 years, but has yet to actually win an Oscar. That will change this year, as One Battle After Another is one of the favorites to win Best Picture thanks to Anderson's stellar filmmaking, as well as multiple great performances that earned the film four acting nominations (Leonardo DiCaprio for Best Actor, Teyana Taylor for Best Supporting Actress, and Benicio Del Toro and Sean Penn for Best Supporting Actor). Add in a story with a very timely political critique (that's getting more relevant by the day) and you have the recipe for a big winner on Oscar night.

    The Secret Agent (not reviewed)
    No foreign country has quite the influence on the Oscars as Brazil, which for the second straight year has gotten one of its films nominated for both Best International Feature Film and Best Picture. Written and directed by Kleber Mendonça Filho, the film is anchored by the performance of Wagner Moura (nominated for Best Actor) as a technology expert in the late 1970s who flees from a mysterious past to try to find peace in his hometown.

    Sentimental Value (not reviewed)
    For the third year in a row, two international films made the cut in the Best Picture race (but whither It Was Just an Accident?). Directed and co-written by Joachim Trier (nominated for Best Director and Best Original Screenplay alongside co-writer Eskil Vogt), the film is tied for the most acting nominations this year, earning nods for Renate Reinsve for Best Actress, Elle Fanning and Inga Ibsdotter Lilleaas for Best Supporting Actress, and Stellan Skarsgård for Best Supporting Actor.

    Sinners
    It takes a special kind of filmmaker to make movies that are both popular and Oscar-worthy, and writer/director Ryan Coogler (nominated for Best Director and Best Original Screenplay) has done it again, seven years after helming the Oscar-winning Black Panther. Both a tribute to Black music history and a gnarly vampire movie, the film is led by Michael B. Jordan (nominated for Best Actor) in dual roles as twins Smoke and Stack. With a story infused with all manner of subtext and a bunch of great supporting performances, including Best Supporting Actress nominee Wunmi Mosaku, the film demonstrates Coogler's great filmmaking abilities that should keep him in demand for years to come. Amazingly, there was only one category for which it was eligible in which it did not receive a nomination.

    Train Dreams (not reviewed)
    The second Netflix movie this year to be nominated, Train Dreams is a contemplative film about a logger (played by Joel Edgerton) in early 20th century America who tries to adapt to a rapidly-changing world. Nominated for Best Adapted Screenplay for the script by director Clint Bentley and co-writer Greg Kwedar, the film is most notable for the work done by Adolpho Veloso (nominated for Best Cinematography), who showcases the Pacific Northwest in all its glory.

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