James L. Brooks makes his return to filmmaking after a 15-year hiatus with the release of his latest project, “Ella McCay,” featuring Emma Mackey in the title role. The film channels a nostalgic essence reminiscent of light dramedies from the past, akin to the classics “Terms of Endearment” and “Broadcast News.” Set in 2008, a time of both hope and hardship for many Americans, “Ella McCay” explores the life of a driven and idealistic 34-year-old lieutenant governor grappling with personal and political upheaval.
Mackey’s character, Ella, faces an unexpected whirlwind as she inherits leadership following her boss’s departure to join President-Elect Obama’s Cabinet. Complicating her newfound responsibilities is her husband Ryan’s (played by Jack Lowden) involvement in a minor scandal, alongside her brother Casey (Spike Fearn), an agoraphobic struggling with his mental health, and her estranged father Eddie (Woody Harrelson), who reemerges seeking forgiveness.
Brooks’s screenplay offers ample praise for Ella while simultaneously delving into her myriad challenges, with Julie Kavner serving as a narrator who expresses deep admiration for the protagonist. The film captures the spirit of a generation caught between Millennial promise and Boomer setbacks, highlighting Ella’s struggle against a backdrop of older role models who have left behind their own messes.
While Brooks’s distinct storytelling style, characterized by eloquent monologues and non-realistic exchanges, might seem somewhat outdated, “Ella McCay” manages to maintain a sharper focus than his previous films like “Spanglish” and “How Do You Know.” Clocking in at a brisk 115 minutes, the film’s attempts to streamline its narrative are evident, though it still retains the tendency for its characters to engage in impassioned soliloquies that can distract from the main storyline.
As the plot unfolds, Ella’s journey weaves between her political challenges and offbeat family dynamics. Mackey excels in moments of chaos, reflecting Brooks’s penchant for watching situations unravel. The film also brings political tension to the forefront, exploring the realities of partisan struggles during a period when idealism still held promise.
Ultimately, “Ella McCay” emerges as a regretful acknowledgment from Brooks to his younger audience—a cinematic apology for the societal and economic turmoil birthed by his generation. While it may not fit the traditional mold of today’s Hollywood offerings, “Ella McCay” stands as a unique entry, blending humor and heartfelt reflection in a manner that feels both refreshing and oddly familiar in an industry that often overlooks such daring narratives.