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    Movie Review

    Funny and heartwarming Language Lessons is a balm for the soul

    Alex Bentley
    Sep 10, 2021 | 3:26 pm
    Funny and heartwarming Language Lessons is a balm for the soul
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    Many people have become all too familiar with video conferencing over the past 18 months, so using that method as the conceit for a whole film may not initially sound appealing. But when a story is told well using expert actors, as it is in Language Lessons, it can transcend the gimmick to become something memorable.

    The film throws the audience into the concept right away with Adam (Mark Duplass) starting a Zoom call with Cariño (Natalie Morales), an online Spanish teacher hired for Adam by his husband, Will (Desean Terry). The lessons are a surprise for Adam, who maintains comprehension and conversational ability from his younger years, but wishes to become completely fluent.

    Adam and Cariño strike up a nice bond almost immediately, but very early on the film becomes about much more than just Adam learning Spanish. Through their various lessons and a variety of video messages they send each other, the relationship between student and teacher moves quickly from being merely transactional to something much deeper. They are able to reach that point in spite — or perhaps because — of the physical distance between them, with Adam in Oakland and Cariño in Costa Rica.

    Directed by Morales and written by both Morales and Duplass, the film is able to achieve big levels of emotion that wouldn’t seem possible with two actors never physically performing together. Whether it’s the ubiquity of video conferencing during the pandemic or the way it’s used in the film, the fact that the whole film is told through screens is never bothersome. Even some technical difficulties — fuzzy video, dropped audio, etc. — add to the unique feeling of the story.

    The film is broken up into six chapters which are technically meant to track Adam’s progress, but the chapter titles — immersion, comprehension, context, grammar, extra credit, and fluency — take on a greater meaning because of personal events in both Adam and Cariño’s personal lives. Also, even though the production of the film was made during and influenced by the pandemic, the story never references that event, allowing it to explore different avenues without that added weight.

    Duplass and Morales make for a great platonic pair, playing off each other in many fantastic ways. Neither allows the fact that they weren’t in the same room with other to interfere with their performances. In fact, their banter is arguably enhanced by the separation, with each engaging in movements and dialogue that would have changed drastically had they actually been next to each other.

    Language Lessons is alternately funny, heartwarming, and heartbreaking, making it a balm for anyone tired of noisy blockbusters or the stress of the world at large. It’s not flashy in the least, and that’s what makes it work so well.

    ---

    Language Lessons is playing in select theaters.

    Natalie Morales in Language Lessons.

    Natalie Morales in Language Lessons
    Photo courtesy of Shout! Factory
    Natalie Morales in Language Lessons.
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    Movie Review

    Legendary filmmaker makes tepid return with meandering film Ella McCay

    Alex Bentley
    Dec 12, 2025 | 11:38 am
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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