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    a name to know

    Powerful new Netflix film Rustin showcases forgotten civil rights activist and pioneer

    Alex Bentley
    Nov 2, 2023 | 12:40 pm

    Certain people in the Civil Rights Movement of the 1950s and 1960s became so iconic that it’s easy to recall their names, people like Martin Luther King, Jr., Rosa Parks, and Medgar Evers. But others are not as well-known despite accomplishing monumental deeds, including Bayard Rustin, who was one of the co-organizers of 1963’s March on Washington.

    The new film Rustin attempts to rescue his reputation from the dustbin of history by showing just how influential he was. The film tracks Rustin (Colman Domingo), who had been a leader in the movement for decades, as he tries to push fellow Black leaders to go beyond what they think is possible. An attempt to protest the 1960 Democratic National Convention puts him on the outs with the NAACP and others, but he persists.

    Colman Domingo in Rustin

    Photo courtesy of Netflix

    Colman Domingo in Rustin.

    When he revives the idea of a March on Washington – which he and A. Philip Randolph (Glynn Turman) attempted to organize in 1941 – he once again meets resistance, most notably from NAACP Executive Director Roy Wilkins (Chris Rock). But his friendship with King (Aml Ameen) – to whom he introduced the idea of non-violent protest – and his sheer tenacity keeps the project on track, a remarkable feat given that he was also having to hide the fact that he was gay from many, even those in his inner circle.

    Directed by George C. Wolfe and written by Julian Breece and Dustin Lance Black, the film is a powerful take on the Civil Rights Movement from a perspective that rarely gets shown. The front-facing people like King, Wilkins, and Rep. Adam Clayton Powell, Jr. (Jeffrey Wright) get a lot of the credit, but the grunt work, especially for the march, was being done by Rustin and his group of both Black and white volunteers.

    Unlike Rustin was forced to do, the filmmakers don’t hide Rustin’s gayness, although they do acknowledge the difficulty that came with being gay in the early ’60s. Rustin knows just where to go in his private time to be able to live relatively openly, but relationships are tricky, whether it’s with Tom (Gus Halper), his partner/work assistant, or Elias Taylor (Johnny Ramey), a married man in the movement with whom he has an affair.

    The struggles in both sides of his life complement each other, as Rustin had to fight tooth and nail against racists, homophobes, and powerful people in the movement. Wolfe and his team keep the film from becoming too grim by utilizing fast-paced editing and, often, a jazzy score that fits with the against-all-odds mission Rustin is trying to accomplish.

    Domingo, who’s been an actor on the rise in recent years, knocks the lead role out of the park. Utilizing a distinctive voice and never-back-down attitude, he is everything the role needed and more. The rest of cast is mix between notable Black actors like Rock, Wright, Turman, and CCH Pounder to go with lesser knowns like Ameen, Ramey, and Michael Potts to make for a potent acting crew.

    The events in Rustin happened 60 years ago, but its story is as resonant as ever, especially because it gives us a new view on a famous moment. Bayard Rustin may not have spoken at the March on Washington, but this film teaches us that he was as responsible as anyone for cementing its place in the history books.

    ---

    Rustin opens at IPIC Houston on November 3; it will debut on Netflix on November 17.

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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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