‘Ella McCay’ Review: Vote No on James L. Brooks’ Worst Movie Yet

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James L. Brooks is widely known as the creator of the long-running animated series The Simpsons, with his name appearing in the show’s opening credits. However, before that, he achieved success co-creating classic sitcoms like The Mary Tyler Moore Show and Taxi, which are now available to stream. Brooks truly came into his own as a director, starting with the 1983 film Terms of Endearment, which earned him three Oscars, including Best Director. Despite this impressive beginning, he’s only directed six films in the past 40 years. While Broadcast News stands out as a highlight, How Do You Know (2010) was considered a low point – until his latest film, Ella McCay.

Brooks consistently makes comedies that are witty, well-acted, and focus on interesting characters, even when tackling tough subjects. He has a knack for presenting these films in a way that’s appealing and easy to enjoy, without being condescending. However, his style hasn’t evolved much recently, and his latest film, Ella McCay, feels outdated and ultimately falls flat. It’s a disappointing political story that doesn’t live up to expectations from the very beginning.

Emma Mackey is wonderfully charming, humble, and spirited, reminding many of classic characters like Mary Tyler Moore and Holly Hunter. However, she appears too young to convincingly portray a dedicated, ambitious Lieutenant Governor who becomes Governor. The role feels similar to a Governor version of Ally McBeal, which isn’t surprising given that the script has an outdated feel, like it was written during the Clinton years—around the time James Brooks directed his last truly successful film, As Good As It Gets in 1997.

Considering Brooks’s history of award-winning films, it’s not surprising he’s gathered a talented supporting cast. While some actors, like Jamie Lee Curtis and Woody Harrelson, seem a bit overly enthusiastic – perhaps trying too hard to impress such a respected director – Albert Brooks, who previously worked with Brooks on Broadcast News, delivers a perfectly understated and welcome performance in a smaller role. He plays Governor Bill, a well-liked leader of an East Coast state (filmed in Rhode Island), who depends on his dedicated aide, Ella, to manage his policies. When he decides to step down for a position in the president’s cabinet, he chooses Ella to take his place.

Even in Albert Brooks’s less successful films, like the strangely-categorized I’ll Do Anything, the characters feel relatable. However, Ella McCay relies too heavily on over-the-top comedy, making it hard to truly connect with the story, especially with so many complicated and poorly developed plotlines. The film throws a lot at Ella – marriage troubles, family drama, and a strangely included charity about dental health – making it surprising she has time for her job. A major issue is the return of her estranged father, Eddie (Harrelson), after thirteen years. Her aunt, Helen (Curtis), fiercely opposes this and isn’t afraid to speak her mind. Helen also disapproves of Ella’s husband, Ryan (Jack Lowden), who is unqualified for politics and seems to only enjoy the benefits of Ella’s position. He’s such an unbelievable character in a shaky marriage that he eventually threatens divorce unless Ella makes him her co-governor.

Brooks clearly aimed for a lighthearted, screwball comedy, but the movie gets bogged down in too many unrelated ideas and storylines. Some of these additions, like the character of Casey, Ella’s brother who hasn’t left his apartment in a year after a breakup, feel pointless. It seems like Ayo Edebiri, known from The Bear, was cast as his ex-girlfriend just to add some buzz to the film. The governor Ella frequently visits Casey, and one visit involves her accidentally consuming marijuana edibles, leading to a surprisingly tame and unexciting drug-induced scene.


20th Century Studios

Released in 2008, Ella McCay is set in what Brooks remembers as a more optimistic era. This period feels more comfortable for him to write about, allowing him to avoid current political debates and the negativity of social media. At 85 years old, it’s understandable he’d look back fondly. It’s also natural that his storytelling might not have the same energy it once did. However, Ella McCay feels very much like a James L. Brooks imitation, complete with a overly sentimental score by Hans Zimmer and unnecessary narration from Julie Kavner, hinting at a rushed or troubled production.

Since Brooks’s last movie, comedy has shifted towards awkward, self-aware, and unconventional styles. His filmmaking approach now feels particularly dated, and his new film, Ella McCay, reinforces that feeling.

Ella McCay, from 20th Century Studios, opens in theaters December 12

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2025-12-10 20:07