Ella McCay: A Failed Attempt at Reviving 1950s Screwball Comedies

With an industry-respected background that includes script-writing for iconic television shows such as The Simpsons, Taxi and The Mary Tyler Moore Show, and a list of loved theatrical releases including Terms of Endearment and As Good as It Gets, James L. Brooks can confidently look back at a successful career in entertaining audiences for the past 60 years. However, his latest endeavor, Ella McCay, seems to be a dim mark on this otherwise impressive legacy, falling short in humour and charm.

The protagonist of the film, played by Emma Mackey, is a 34-year-old law school grad working in a State House who eventually takes on the position of an interim governor after the incumbent Governor Bill gets a cabinet post in D.C. The narrative lacks substance with its thin portrayal of political idealism and mismatched ensemble of supporting characters.

The promotional materials of the film promised a tribute to 1950s screwball comedies, but the movie comes off as an outdated sitcom straight out of the ’80s with a melodramatic tone throughout. The film's attempt to explore the traumatic experiences making the protagonist vulnerable and guarded also falls flat, with the idiosyncratic characters and intricate relationships missing from this script, which are otherwise a strongpoint in Brooks' finest works.

Aside from Mackey, the acting throughout the film is an exaggeration, with the leads trying too hard to bring to life characters that feel neither relatable nor real. Despite the script's attempt at meaningful dialogue, it offers nothing beyond surface-level insights, at times making the viewer feel stuck in a loop of forced catharsis and cliched metaphors.

Fans of James L. Brooks hoping for a sentimental experience akin to his past works will be disappointed. Despite a sizable acting talent pool, even a nostalgic reunion of Brooks’ past collaborators can’t save this film from feeling like a stretched and tedious spectacle running close to two hours.