There's something painfully ironic about Ella McCay having two standout scenes where she talks nonstop, lulling her audience and colleagues to sleep, because that's precisely what the film will likely do to anyone unlucky enough to discover it in theaters this weekend. It seems destined to ruin the Christmas spirit for many and sneak in as a late contender for the ten worst films of 2025.
What makes Ella McCay such a resounding failure is that it comes from James L. Brooks, who was once a truly great filmmaker. To see him fail so badly at a political satire is something I never would have expected given his tremendous track record. He describes the film as a comedy, but that might be the most egregious use of the word I've seen all year. The only moment that bordered on funny was right at the end, when Jamie Lee Curtis and Emma Mackey let out some tremendous screams, which I assume were out of sheer frustration with the script they had to endure.
Director: James L. Brooks
Writer: James L. Brooks
Stars: Emma Mackey, Woody Harrelson, Kumail Nanjiani
The film follows Ella (Emma Mackey), who dreams of making a real difference in the political world and suddenly gets the opportunity of a lifetime when Governor Bill (Albert Brooks) is promoted and offers her the position. The story focuses on the three days immediately following the announcement. At first glance, it sounds fun and potentially moving; it might even offer some commentary on female empowerment in politics, something I'm sure most would agree is definitely needed in today's world. Instead, we're met with a barrage of pointless and increasingly irritating subplots that drag the film into complete nonsense.
In those three days alone, Ella has to grapple with her long-buried paternal issues when her father, Eddie (Woody Harrelson), reappears out of nowhere. Her brother, Casey (Spike Fearn), has become a recluse, not leaving his house in over a year after breaking up with his ex-girlfriend Susan (Ayo Edebiri), and these three days are, apparently, the only time he can deal with it. To make matters worse, her husband, Ryan (Jack Lowden), wants her to use her power so desperately that he's willing to create a political scandal to get it. And all this without mentioning her completely unhinged aunt Helen (Jamie Lee Curtis), her secretary Estelle (Julie Kavner), who narrates the entire film for reasons that remain a mystery, except for the unnecessary help she provides the audience during the most tedious moments, or Nash (Kumail Nanjiani), Ella's security guard, who basically drives her around.
To be fair, some of these storylines could have been interesting, especially Ella's relationship with her father. The opening goes to great lengths to portray him as a womanizer even when Ella's mother was on her deathbed. But as soon as that's raised, the film drops the ball until the final act, where Eddie simply apologizes repeatedly. That's really the only resolution we get. I wish I were joking, but that's the level Ella McCay operates at. I did chuckle a little when the credits rolled and I realized all that build-up led nowhere.
The same problem applies to Casey's storyline. He's clearly dealing with some seriously dark psychological issues following his breakup, something many people could relate to and that could have prompted some thoughtful commentary. Instead, his problems are magically solved overnight because Ella, high on pot cookies, gives him some "stellar" advice. My disappointment was immense, though sadly expected at that point.
But the most ludicrous subplot is Ella's husband, Ryan, who practically admits he only married her for the political career she would eventually have. That might have been believable if they hadn't met in high school. I'll spare you the details of the scandal it creates. It's as stupid as it sounds, and even in a world where the media tries to convince you of almost anything, this would still be unbelievable.
While much of the blame lies squarely with the script, which is easily one of the worst of the year, the performances offer nothing of merit. Usually, there's at least one actor who manages to elevate terrible material into something memorable or at least moderately entertaining, but that doesn't happen here. Every performance is as forgettable as the last. More than one cast member feels like they're doing a completely improvised job, which is disappointing for such a talented group.
Unfortunately, Ella McCay, despite having a few promising ideas buried beneath the chaos, is a tedious and, frankly, hard-to-get-over film. There were moments when I wished I'd gone Christmas shopping instead of enduring two hours of cinematic misery. The final insult is that this marks my 200th movie premiere of 2025, a milestone I should have cherished. Instead, it will go down in history as a film I'll love to hate.
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