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    Movie Review

    New film Love Hurts serves as vehicle for Oscar-winner Ke Huy Quan

    Alex Bentley
    Feb 6, 2025 | 3:30 pm
    Ke Huy Quan in Love Hurts

    Ke Huy Quan in Love Hurts.

    Photo by Allen Fraser/Universal Pictures

    Career revivals like the one that has happened to Ke Huy Quan are extremely rare in Hollywood. As a child, he scored two big back-to-back roles in Indiana Jones and the Temple of Doom and The Goonies. While he found occasional work after that, his career mostly went dormant starting in 2002 until he was cast in Everything Everywhere All at Once, a role that won him an Oscar.

    Now, he’s the toast of the town, including his first-ever starring role as the lead in Love Hurts. Quan plays Marvin Gable, a relentlessly positive real estate agent who’s the top seller in his area. But from the beginning of the film, it’s clear that he has a hidden backstory, as he receives a veiled threat in a note from a woman named Rose (Ariana DeBose), who is seen early on defacing many of his advertisements around town.

    When a heavy called The Raven (Mustafa Shakir) confronts Marvin at his office, he is pulled back into his old life, one where he was involved in the criminal enterprise of his brother, Knuckles (Daniel Wu). Soon he’s dodging attacks on multiple fronts, looking out for Rose, and all the while trying to keep up appearances at his day job.

    Directed by Jonathan Eusebio (a stunt coordinator making his directorial debut) and written by Matthew Murray, Josh Stoddard, and Luke Passmore, the film is one big excuse to have Quan show off the martial arts skills he demonstrated in his Oscar-winning role. While there is some semblance of a story, it’s mostly to set up the various fight scenes; there’s little attempt to make the audience care about any of the stakes.

    Instead, Eusebio and his team vacillate between moments of calmness and sequences with extreme violence. Quan and his fellow combatants (in addition to Shakir, he faces off against Marshawn Lynch, Cam Gigandet, and others) engage in a series of creative moves designed to inflict as much pain as possible. The juxtaposition of the seemingly mild-mannered Marvin with his abilities works relatively well, as does the variety of implements used as weapons (pencils, boba straws, feathers, and more come into play over the course of the film).

    But the lack of a full story catches up with the film in the end, as instead of building to some kind of grand finale, there are diminishing returns with every scene. The filmmakers try to distract with a semi-amusing romantic connection between The Raven and Marvin’s assistant, Ashley (Lio Tipton), something that works much better than allusions to a bond between Marvin and Rose. There’s also a mini-Goonies reunion with Sean Astin as Marvin’s boss that’s kind of fun, but the antipathy between Marvin and his attackers never fully develops.

    Quan is a joyful presence who does his level best to make himself into a lead actor, but he’s not served well in the film as a whole. DeBose, an Oscar winner herself, seems to be stuck in a rut of mediocre roles, ones that don’t allow her to show off her skills like West Side Story. Lynch shows again he’s reliable in comic sidekick roles, while Tipton and Shakir are the only other actors to make any kind of impact.

    The Valentine’s theme of Love Hurts is not the only part of the film that feels tacked on. While the idea of letting Quan show off his skills is a good one in theory, very little thought appears to have been put into making that showcase effective. The result is a forgettable action comedy that puts more emphasis on ultraviolence than its story.

    ---

    Love Hurts opens in theaters on February 7.

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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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