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    Movie Review

    Crazy night leads to some weird stuff in The Death of Dick Long

    Alex Bentley
    Sep 27, 2019 | 2:55 pm
    Crazy night leads to some weird stuff in The Death of Dick Long
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    Director Daniel Scheinert has been quoted as calling his new film, The Death of Dick Long, “the redneck Hangover,” but that’s a bit of misnomer. Yes, the plot does involve a group of guys getting into some wild stuff, thanks to the influence of drugs, alcohol, and peer pressure, but the film’s tone is about as non-comedic as you can get.

    Since the title gives it away, it’s no spoiler to say that Dick Long (Scheinert) dies soon after the opening sequence, which gives a brief glimpse into the crazy night he, Zeke Olsen (Michael Abbott Jr.), and Earl Wyeth (Andre Hyland) experience. Scared that they will be implicated in Dick’s death, the cause of which remains a mystery for much of the film, Zeke and Early do everything in their power to keep their involvement a secret.

    Unfortunately for them both, they are very bad at covering things up. An attempt at hiding blood evidence in a car leads to a tense situation with Zeke’s daughter. Zeke acts nothing but guilty in front of his wife, Lydia (Virginia Newcomb), as does Earl in front of his neighbor, Lake (Sunita Mani). And Zeke can’t seem to help attracting the attention of police officer Dudley (Sarah Baker) at every turn.

    Scheinert and writer Billy Chew play up the ineptitude of their characters to the nth degree, as almost nothing can seem to go right for them. While some of it is funny — a Pulp Fiction reference and some of the revelations among them — most of it is gut-churning bordering on tragic. Zeke and Earl are idiots, to be sure, but you still root for them to succeed. Consequently, every time they figuratively shoot themselves in the feet, it’s another moment of tension.

    Still, there’s a creeping feeling throughout that, no matter what secrets come out by the end of the film, the movie as a whole is spinning its wheels. The filmmakers seem to be held hostage by their own plot devices, and as twists slowly but surely start to come out, each one seems more underwhelming than the next. Even the ultimate revelation, as out-of-the-norm as it is, is delivered in a ho-hum way.

    The film’s main stars, Abbott and Hyland, are relative unknowns, but Scheinert (Swiss Army Man) filled supporting roles with semi-familiar faces like Newcomb, Mani, Baker, Jess Weixler, and Roy Wood Jr. The story may have some lacks, but each of the actors is given at least a scene or two in which to shine, and they all do well in their respective roles.

    The film is an interesting diversion for most of its running time, but it’s hard not to feel like the filmmakers could have done more with the concept. Its mixture of tones had the potential to pay dividends, but The Death of Dick Long comes up short.

    Daniel Scheinert, Andre Hyland, and Michael Abbott Jr. in The Death of Dick Long.

    Daniel Scheinert, Andre Hyland, and Michael Abbott, Jr. in The Death of Dick Long
    Photo courtesy of A24
    Daniel Scheinert, Andre Hyland, and Michael Abbott Jr. in The Death of Dick Long.
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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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