Ella McCay Is Pure Gas-Leak Cinema

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I find myself constantly exaggerating how good Ella McCay is, even though I don’t mean to. It’s incredible only in the sense that it’s unbelievably strange. It’s one of those movies you really need to experience for yourself, especially since it’s the first film in 15 years from James L. Brooks, the creator of The Simpsons and the director of Terms of Endearment. But despite his success with those projects, Ella McCay feels completely different – almost like it ignores all the usual rules of storytelling and character development. It tries to be a fast-paced comedy, but it misses the mark entirely, resulting in bizarre behavior from characters that feels… unnatural. It’s as if they aren’t getting enough oxygen! But strangely, there’s something almost endearing about how completely off-the-rails it is – a kind of innocent, unfiltered quality.

The movie mainly focuses on Ella, a 34-year-old lieutenant governor played by Emma Mackey, but gets bogged down in a lengthy side story about her brother, Casey (Spike Fearn). Casey is a brilliant MIT graduate who has been a recluse for over a year after his girlfriend, Susan, didn’t immediately agree to become exclusive with him – so he blocked her. He essentially ghosted her. When Ella points this out, Casey decides to win Susan back, embarking on a long walk across town to prove he’s not afraid to leave the house. Amazingly, Susan (played by Ayo Edebiri in a brief scene) not only lets this disheveled, intense man into her apartment after a year of no contact, but tries to have a normal conversation with him as if nothing happened. Just when it felt like the situation might turn dangerous, Casey asks Susan to be his girlfriend again, and she… says yes! (Spoiler alert!)

Many parts of Ella McCay aim for a fun, quirky tone, but instead come across as strangely unsettling, though rarely as captivatingly so. For example, the film goes to great lengths to avoid naming the New England state where the story takes place, despite being filmed in Rhode Island. There’s also a bizarre scene where Ella’s husband, Ryan, immediately asks to share in her power after she becomes governor, a comically villainous move that suggests he’s always been ambitious. Furthermore, Ella’s aunt, Helen, unexpectedly reunites her with her estranged, unfaithful father, Eddie, only to reveal that he’s motivated by his girlfriend’s threat to leave him, rather than genuine affection.

The film features a lot of characters – Kumail Nanjiani as Ella’s charming security guard and potential love interest, Becky Ann Baker as her scheming mother-in-law who owns a pizza chain, and Julie Kavner as Ella’s supportive secretary who provides narration that feels tacked on. The biggest problem with Ella McCay is that it tries to fit too much plot into one movie. Storylines that could have been interesting feel rushed and characters make strange decisions, as if forced by the script. While it doesn’t reach the same heights, the film occasionally echoes the work of director James L. Brooks – specifically his classic workplace sitcom The Mary Tyler Moore Show and romantic comedy Broadcast News. Albert Brooks, who plays Ella’s boss, particularly shines and seems to understand the director’s vision. Ultimately, the film lacks a clear focus and feels like a fundamental element of storytelling is missing.

James L. Brooks, now 85, hasn’t directed many films recently, with only three released this century. His last one, a romantic comedy about a softball player and corporate wrongdoing called How Do You Know, was confusing for many viewers. While his new film, Ella McCay, isn’t entirely clear either, its central idea is easier to grasp. The movie focuses on a woman who’s deeply committed to doing good as a politician, but her earnestness actually makes her unpopular with voters. She’s reminiscent of Lisa Simpson – in her first legislative session, she accidentally traps everyone inside with her due to her enthusiastic dedication. It’s clear Brooks set the film in 2008 to avoid directly addressing the Trump era, and Ella McCay feels like a tribute to Hillary Clinton, even down to the outgoing governor – a skilled public speaker named Bill – who passes the torch to Ella. Ella is passionate about practical policies, like getting toothpaste companies to fund dental health programs, and represents a vision of what could have been. She’s a woman determined to lead and overcome personal setbacks to achieve her progressive goals, and the film’s nostalgic portrayal of her is its most striking quality.

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2025-12-12 16:54