Ella McCay: A Star-Studded Cast Rights This Throwback Dramedy

When it comes to Ella McCay, the ingredients are all there. Marketed as a throwback, feel-good dramedy, the 1990s vibes permeate throughout, and that can be a powerful thing for a lot of audiences. The feature film return of legendary writer-director-producer James L. Brooks, he brings much of that same energy this time around, but does it work for today’s day and age? The answer is a matter of perspective. Not without flaws, the film’s issues have little to do with Brooks’ writing and direction, but are merely a matter of it simply taking on too much. Trying to be so many things without ever succeeding at any, the result is an effort that is better than the sum of its parts. To some, the accumulation of those parts will be enough, though for others, they will find themselves wondering what the film was ever really about. Centered around a strong titular character, Emma Mackey shines, however, the character is seemingly hamstrung by the weight of a messy plot that fails to communicate where she truly stands and what her impact truly was. Stuck between a character study about a strong, idealistic young woman overcoming tough circumstances both personally and professionally, carving a path for herself in the government, a dysfunctional family dramedy, and a modern day commentary of the American government system, the film fails to weave its own path through it all. Featuring many standout moments within each of those lanes, it offers very little cohesion as a whole.

As mentioned, Ella McCay is centered around the titular character (Mackey), a very smart, an idealistic young woman who suddenly found herself becoming the governor of her home state (the state is never specified). Focusing much of her adulthood on the wanting to help others and change lives, she implemented her ideas through her work in government. Moving up the ladder working as the Lieutenant Governor under the popular now former governor, known amongst his constituents as ‘Governor Bill’ (Albert Brooks), the latter’s call-up to the federal government set her up to take his place and fulfill the remainder of his term. Full of ideas, her passion and the way she went about sharing them often rubbed others the wrong way, as those she worked with dismissed her as annoying. Without Bill to hide behind, learning how to lead the charge came with a learning curve. Meanwhile, being a woman in such a high position of power also worked against her in the eyes of her new constituents. A disruptor in many ways, the notion of her in charge is one that will take some getting used to. Whether or not she would get the chance to implement her agenda as governor remained to be seen.

Aside from her professional hurdles, the dysfunctional McCay family added another wrinkle to the proceedings. As her estranged father Eddie (Woody Harrelson) re-entered the picture, it became a perfect storm of circumstances for Ella as her difficult past began to resurface. Not spending nearly enough time during her angsty teenage years, once Eddie and her mother Claire (Rebecca Hall) and Ella and her brother Casey went their separate ways, the latter stayed home to live with their aunt Helen (Curtis). The undisputed heart of the film, the relationship between Ella and Helen was the best part of the film, and also one that the films fails to tap into nearly as much. An infinite source of guidance and wisdom, Helen essentially became Ella and Casey’s mother, especially following Claire’s untimely passing. Going off to college and then climbing up the ladder of her local and state governments, Ella’s need to fix everything remained, throwing her in multiple directions during the most important time in her life. Be it checking in on her now adult Casey (Spike Fearn), her growingly resentful husband Ryan (Lowden), or serving her constituents while trying to prove her doubters wrong, she was definitely busy, but all that made for distractions that only muddied the waters.

That being said, within these subplots were a fair share of compelling moments that are sure to hit the right spot for those looking for some throwback lighter fare. Despite a strong script and direction from Brooks, all these parts don’t quite make a whole. However, doing much of the heavy lifting here was the narration of Julie Kavner (in a rare on screen role), as Ella’s long time assistant Estelle. To her credit, the film affords her more than just a token narrator role, playing a prominent role and stealing the bulk of her scenes. Providing some insight and, at times, steering the story in an overly convenient way, it results in fun tidbits and almost distracts from its narrative flaws. While the film has its heart in the right place, it is still predictable in how it settles all its plot threads but the ending also leaves something to be desired as it deprives audiences from a satisfying conclusion and the fruit of Ella’s labor.

The best part of Ella McCay is its cast and their performances. Putting Mackey front and center as Ella, she delivers a star-making performance and carries the film on her back. Be that as it may, it is also not using her to her full potential. Though Mackey is clearly capable of more, the material keeps her from getting there. Playing roles big or small, one can argue that there is perhaps too much going on here, but one cannot argue the quality of the cast. Featuring so many big names, Curtis and Kavner are the other standouts, each playing key roles alongside Mackey as confidants. Their great chemistry is what made those dynamics work not to mention, fun to watch. However, that great chemistry extends to the rest of the cast. Fearn, Brooks, and Kumail Nanjiani as Ella’s police guard Nash, are other names worth mentioning when it comes to their chemistry with Mackey.

Ella McCay is a decent throwback dramedy sure to hit a nostalgic note whose great cast, led by Emma Mackey, steers it through its messy story.

still courtesy of 20th Century Studios

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Keith Noakes

The EIC of the coincidentally-named keithlovesmovies.com. A Canadian who prefers to get out of the cold and into the warmth of a movie theatre.