Ella McCay is a Two-Hour Masterclass in Awful

Ella McCay

zero stars

Ella McCay is a film written and directed by James L. Brooks whose directing credits include award-winning films like Terms of Endearment, Broadcast News and one of my all-time favorite films: As Good as it Gets. His writing and producing resume is even more impressive with credits like The Mary Tyler Moore Show, Taxi, Big, Say Anything, Jerry Maguire, The Simpsons—it’s a masterful list of projects.

Why bother with this list? Because Ella McCay is one of the worst movies I’ve seen in a very, very long time, but I want it clear that I celebrate a great deal of Brooks’ work. I hate what I have to say about this film—I hate saying it as much as I hated this movie.

Jamie Lee Curtis as Helen and Emma Mackey as Ella
© 2025 20th Century Studios, Gracie Films

The character Ella McCay (Emma Mackey) is one of the most unlikable female roles I’ve seen in a long time. From frame one, she’s so condescending her crown leaves ugly marks on the ceiling as she moves about the film from atop her very high horse. She’s so insufferably written, I get the sense the horse would buck her off at first chance. This is a character that everyone in this film fawns over. Why? Who knows. She’s not interesting, doesn’t do anything interesting and has zero growth as the film painfully plays on.

The characters in this film have one role and one role only: to never hold Ella accountable for anything. Ever.

She’s supposed to be such an interesting character, she has her own narrator.

The narrator of the film is also Ella’s secretary Estelle and is played by Julie Kavner. You might know her as Marge on The Simpsons. She starts off explaining how she’s a big fan of Ella’s, but doesn’t really give us a reason. Every now and then her voice pops in to explain the story in a way that makes no sense because there’s really no story to explain. I found myself longing to hear Kavner say “Oh, Homer” in a way only she can.

Albert Brooks as Governor Bill
© 2025 20th Century Studios, Gracie Films

The events of the film are this: events, not plot—Ella is dismayed that her dad Eddie (Woody Harrelson) has been forced to step down from a medical board position, because he’s unable to be faithful to his wife Claire (Rebecca Hall). As a teen, she proceeds to lecture her family on why Eddie’s a slimebag. She’s right. Eddie is slime. And she won’t forgive him.

We skip forward far into the future where Ella is Lieutenant Governor—I wasn’t invested to note the state—to Governor Bill (Albert Brooks). The gov gets a presidential cabinet placement, so he must resign immediately, making Ella governor for at least 14 months.

Kumail Nanjiani as Trooper Nash
© 2025 20th Century Studios, Gracie Films

But there’s a scandal afoot! It seems that Ella’s been working 17 long hours every day, and it’s been a strain on her marriage to Ryan (Jack Lowden). So they do the hanky-panky during her lunch hour on the regular in a government apartment. Since the residence isn’t assigned to her, it’s against the law. A reporter is trying to reach Ella about the story, offering to not publish in exchange for exclusive access. Ella has principles and her way of sticking to them is to just avoid the reporter. She should have just told him to publish. I guarantee her poll numbers would go up.

In a world rife with political dirt, this is the best the writers came up with. A married couple trying to keep the spark alive despite demanding work schedules. Something I’m positive no reasonable American would fault them for.

There are a couple of moments that sum up the only empathy I felt for anyone in this nearly two-hour slogfest. It’s when Ella gives her inaugural acceptance speech and when she holds her first cabinet meeting. Apparently even the writers find Ella boring and insufferable, because by the end of both events, a great number of attendees are sleeping or miserable. Ella can sure drone on and not make a point. I empathize most with the extras in the film who had to sit through her meetings.

Ayo Edebiri as Susan and Spike Fearn as Casey McCay
© 2025 20th Century Studios, Gracie Films

The way Ella is introduced, you’d think she saved a town from poisoned drinking water like Julia Roberts did in Erin Brockovich. Ella’s backstory alludes to nothing of the sort.

The film’s final message relates mostly to Ella’s lying, cheating dad. The narrator tells us that even though we’re told forgiveness is good for our heart, maybe sometimes not forgiving is also good for us. What a wonderful message for a film that’s supposed to be a light-hearted comedy (it says so on the poster).

If you do see this film, you have my undying sympathy, because you undoubtedly can’t imagine a Brooks film being as appallingly bad as this. Should you make it through, you’ll be in a special club of people who know what a “tooth tooter” is. Maybe it’s “tooth tutor.” Either way, I’m certain it’s a club neither of us wants to be in.