Displaying items by tag: Jamie Lee Curtis

ELLA McCAY

US, 2025, 115 minutes, Colour.

Emma Mackey, Jamie Lee Curtis, Albert Brooks, Julie Kavner, Woody Harrelson, Kumail Nanjiani, Spike Fearn, Ayo Edebiri, Jack Lowden, Rebecca Hall.

Directed by James L. Brooks.

In many ways an old-fashioned film, with an appeal to older audiences or those who like their entertainment as variations on familiar social themes and relationships. It was written and directed by James L. Brooks, released as he turned 86. He has had a long career, originally on television (writing and producing hundreds of episodes of The Mary Tyler Moore Show, Lou Grant, Taxi) and then producing almost 800 episodes of The Simpsons.

Ella McCay is reminiscent of his award-winning and multi-nominated films, Terms of Endearment, Broadcast News, As Good as it Gets.

While the film opens with the central character in her teens during the 1990s, the main action takes place in 2008. Ella McCay is, in fact, at age 34, the Lieutenant Governor of her state, a determined woman, idealistic (and one blogger suggested, interestingly, that she may be neuro-divergent). When the governor, played by veteran Albert Brooks (star of Broadcast News) is appointed to a presidential position, she becomes Governor.

But Ella (Emma Mackey, who could pass as the sister of Anne Hathaway and Margot Robbie) has had a difficult childhood, seen in the flashbacks, her patiently loving mother (Rebecca Hall), her seemingly carefree, womanising father (Woody Harrelson), her psychologically damaged brother (Spike Fearn) but relying on her devoted and very forthright aunt (Jamie Lee Curtis stealing every scene when she appears). Her mother dies. She loses contact with her father, unable to forgive him.

One of the enjoyable features of the film is the narration by Ella’s assistant, Estelle. She is played by Julie Kavner – and Simpsons’ audiences will immediately hear her and remember that she has been the voice of Marge Simpson for those hundreds of episodes.

Most of the action takes place over the couple of days in which she assumes the role of Governor, potential for her social benefits plans which alienate opposition, which are often too overwhelming for her own party, full of great intentions.

Then, behind-the-scenes, serious dealing with her seemingly agoraphobic brother, the arrival of her father who wants reconciliation, the audience discovering that she is married, her high school sweetheart (Jack Lowden) and some relational consequences some of which test her as well as audience tolerance. And, then there is the press, government protocols, potential scandals, political exploitation…

James L. Brooks, throughout his career, has been a man of optimism, hopeful endings. And audiences with social consciences will be strongly in favour.

However, the ending would have been in the spirit of the Obama and Biden administrations. The achievement that Ella McCay accomplishes in social outreach to those in need and which audiences enjoying the consequences the film would have been the immediate target of Elon Musk and his DOGE cutbacks, and the staff for these operations would have been immediately the target of minimising diversity in US public works. Ella McCay is not the kind of film that would be supported by the MAGA movement.

1. The films of James L. Brooks, family relationships, political issues, 20^th century popular styles? For the 21^st-century?, Comedy, screwball touches?
2. The picture liberal USA, politics, social concern, released in the first year of the second Trump administration, the contrast?
3. The style of the film, introduction, flashbacks, the strong cast? The musical score?
4. Introduction to Ella, Lieutenant Governor, age, experience, ambitions? Relationship with Bill, the genial governor, his promotion, prepared, her succeeding him?
5. The flashbacks, and her brother as children, the sadness of her mother, the philandering of her father, the boy withdrawn, Ella unforgiving, the move, and her staying with aunt Helen, aunt Helen’s criticism of her brother, her growing up cared for by Helen? Encouraging her? And Helen’s forthright character, expressing herself?
6. The action taking place over several days, Bill, his personality, getting his position, talking with Ella, the social issues, his not being supportive, his warning about others reactions to her? The announcement, her meeting the press, her response to the press?
7. The situation with her husband, the flashbacks, her high school sweetheart, the courtship, Helen’s disapproval, his staying the night, at the window, chasing him, the confrontation with Ella, the truth? His personality, his mother and ambitions, the marriage, Helen talking to him, his declaration? The marriage, the issue of the government room, the sexual relationship and regulations, the issue of the journalist, his telling the journalist, paying off the journalist?
8. And her husband, his ambitions, surveying the room, his expectations, building up to the confrontation with Ella, upset, urged on by his mother, conference, his lying about the cheque, the effect on Ella, talk of the divorce, his anger?
9. Ella, her concern about her brother, agoraphobic, age, personality, job, memories of Susan, the drugs and stimuli, Ella confronting him, the drugs, staying with him, the issue of his father and the emails, upset?
10. The announcement, her speech, the notes from Bill, her not mentioning her husband?
11. Ella, her driver, the conversations, his support of her, taking her to her brother, his partner, financial issues, the overtime, Ella upset, taking responsibility for their overtime? Apologies?
12. Her brother, Susan, the past, getting in touch, the visit, the conversations, her stances, the kiss, going out for the meal, his future?
13. Ella and her father, the sadness of her mother’s death, the years of separation, his arrival, his psychologist girlfriend, wanting him to reconcile, to get his children’s forgiveness, with Helen, his meeting with Ella, their discussions? The final confrontation, her inability to forgive him?
14. Estelle, her voice-over, her personality, devotion to Ella, the work in the office, shielding her, advising, confronting her husband? Her character?
15. Ella, her working with her team, the long meetings, members going to sleep, the aims of her legislation?
16. The press conference, the truth, the response of the journalists, literally falling over themselves, her being knocked down, the concern? The support of Helen? Decisions to be taken, her strong stands? Bill and his advice, the discussions with the party leadership, her personality, the deals, finding a solution?
17. The success of her legislation, social concern, success? (And images of 2025 in contrast with the first year of the Trump administration?)

FREAKIER FRIDAY

US, 2025, 110 minutes, Colour.

Jamie Lee Curtis, Lindsay Lohan, Julia Butters, Sofia Hammons, Mark Harmon, Manny Jacinto, Chad Michael Murray, Maitreyi Ramakrishnan.

Directed by Nisha Ganatra.

Half a century ago there was a very popular version of Mary Rodgers’ novel, Freaky Friday with Jodie Foster and Barbara Harris as mother and daughter changing identities. And there have been quite a number of versions of Freaky Friday over since, especially in 2003 with Jamie Lee Curtis and Lindsay Lohan. So, if you can wait long enough, there will be sequels. And, the sequel will be even freakier!

And, as time passes, Lindsay Lohan as Anna is now the mother of a teenager, Harper (Julia Butters – that little girl who had the critical conversation on the veranda with Leonardo DiCaprio in Once Upon a Time in Hollywood). Which means that Jamie Lee Curtis as Tess is now Grandma. But, how are they going to make the basic story freakier? And another couple!

The answer is to have Anna fall in love with Eric (Manny Jacinto) a charming gentleman chef from London whose wife has died and his daughter, now at school with Harper and bitter enemies, Lily (Sofia Hammons), wants to go back to England. Harper, of course, a Californian surfing teenager, has no desire to go to London.

You never know where fortune tellers with powers are to be found these days but this one here has a full-time job at Starbucks but takes time off to read palms. And she is ultimately very surprised at the freakier changes of identity.

This is a film very much for teenage girls (teenage boys barely get a look in) and girls under 12 point found it very interesting puzzle about all the fuss. The parent generation will now be identifying with Lindsay Lohan. And, all the rest can sit back and enjoy Jamie Lee Curtis (who becomes that London teenager) doing Granny-looking youngster antics while coping with some aches and pains!

Mark Harmon was there 22 years ago as was Chad Michael Murray, both of them reappearing, somewhat subdued.

One caution for older members of the audience, including this reviewer, the concentration needed for having to keep remembering who was who in who’s guise, was far more demanding than expected.

There is a rock concert finale, Anna having wanted to be a musical star but having to look after her daughter, the possibility of a crisis at the end as Harper, looking like Anna, has to sing her song, but the screenwriter provides a neat solution so that the song goes ahead, everybody is happy, the two girls learn to appreciate their parents, bond with each other – and, to leave readers in suspense and no spoiler, guess where they decide to live as one big happy family!

1. The many film versions of this story? The genre of body-swapping? Comic consequences? Appearances and reality? 2003, Jamie Lee Curtis and Lindsay Lohan? Two decades later and a sequel? And multiplying the body-swapping?
2. The Los Angeles settings, homes, school, the music world, surfing, chefs and cooking? The songs and musical score?
3. Reintroducing Tess and Anna, 20 years, Tess as grandmother, Anna as single mother, her music career, not fulfilled, becoming a producer and manager, her client and her personality and tantrums, arranging the concert? Harper, teenager, surfing, the family bonds? Are the school, the clashes with Lily, British accent and manner, the sabotage of the chemistry experiment, leading to the spectacle of the cake fight and the attack on the principal?
4. The principal’s office, the reaction of the girls, Anna meeting Eric, British background, Filipino background, chef, widower, the attraction? Falling in love? The reaction of the girls?
5. Six months later, the engagement, wedding preparations, the prospect of moving to London? Lily and her personality, clashes with her father, Harper and her reaction, not wanting to leave Los Angeles?
6. The visit to Starbucks, the palm reader, the words, memories of the past body-swap, lightning striking twice, the double swapping?
7. Audiences coping with Anna as Harper, Harper as Anna, Lily as Tess, Tess as Lily? The comedy of Tess acting as a teenager, Lily as a grandmother, with aches, Anna and Harper, mother and daughter? The range of comedy, situations?
8. The plan to sabotage the move to London, the two girls, in the appearances of Tess and Anna? Tess and her behaving like a teenager, out of control, especially the car and the driving, the connivances? Harper appearing as her mother? Anna being her daughter?
9. The enjoyment of the vice versa experiences? But Eric and his bewilderment? And his wanting to do the best by his daughter, the breaking of the engagement?
10. The two girls in their other forms, conniving, going to see Jake, at the record store, the tantrums and stupidities, trying to get his help? The immigration interview and the revelations for Harper?
11. The buildup to the concert, the singer and her tantrums, Anna’s song, the crisis, her playing in the background, Harper upfront, the success of the song, Eric hearing, the appeal to him, carried to the front, the happy reunion? And reversal two characters?
12. The wedding party background, Eric and his mother, the other relations?
13. Everyone back to normal, Tess happy, Eric and Anna happy, and the two girls becoming friends – and, of course, not going to London!

THE LAST SHOWGIRL

US, 1984, 88 minutes, Colour.

Pamela Anderson, Billy Lourd, Kiernan Shipka, Brenda Song, Dave Bautista, Jamie Lee Curtis.

Directed by Gia Coppola.

While The Last Showgirl is a story of a Las Vegas show closing down (fewer coming to the spectacles, more a new popularity of circuses), it provides a fine comeback for Pamela Anderson, a varied career with Playboy, Baywatch, her relationships in the public eye, but her later championing of environmentally friendly products.

The film has been directed by Gia Coppola, the project has quite a number of the Coppola clan involved. She is a granddaughter of Francis Ford, niece of Sophia, cousin of Nicolas Cage and Jason Schwartzman (who has a role here) and the screenwriter is married to a cousin.

In many ways this is a familiar story, and many audiences who have had experiences of being fired, terminated, will resonate. Pamela Anderson plays Shelley, 57, who has danced in the show for 30 years, devoting her life to it – and in rather moving speech to her estranged daughter, she explains how important this has been for her, the show, the costumes, the dancing, even if she is only one out of 80 in the ensemble, smiling and happy to be entertaining the audience. Which is not enough for her daughter giving rise to some emotional confrontations.

Shelley also explains why this is the job she has loved for so long, even as she regrets the consequent neglect of her daughter growing up, that she is one of the regular people doing the best they can with the tools they have.

A lot of the action takes place in the dressing room, leaving some of the spectacle of the show until the later part of the film. In the dressing room interactions, Shelley has become something of a mother figure, to Jody (Kioernan Shipkin) who has left home and alienated her mother. And there is a good friend, Annette, former dancer, now aged, heavily made up, something of a fright wig, working in the gambling pit, played by Jamie Lee Curtis – and a long dance sequence that she choreographed. The daughter is played by Billy Lourd (daughter of Carrie Fisher which means that she brings a lot of experience to the role of the daughter of a showbiz personality).

A pleasant surprise is the casting of Dave Bautista, not in an action show, but as the organiser of the girls, getting them on stage at the right time, reticent in his own way, a friend for Shelley.

A sympathetic portrait of one of the regular people – facing age, jobless, with the possibility for a different future and renewing relationships.

1. A showgirl in Las Vegas story? The background of the shows, the popularity, decline, audiences, change in sensibilities? The effect on the long-time showgirls?
2. A star vehicle for Pamela Anderson, audience knowledge of her career, personal story? Her nominations for awards?
3. Audience response to Las Vegas, favourable, life and style, criticisms? The casinos, the familiar exteriors, the streets, the interiors, the gambling areas, the shows? Costumes and decor? The dressing rooms, behind-the-scenes, the management, control of the action, lighting…?
4. Shelley and her story, the opening, the close-ups, her age, the audition, lying about her age, the music? And the return to this sequence as the show was closing?
5. Shelley, 57, 30 years as a dancer, her long speech explaining to her daughter her love for the show, what it meant, the glamour, the costumes, the impact for the audience? Hannah and her criticism, the showgirls being one of 80, not individuals, and her mother’s choice of this way of life while neglecting her in her growing up?
6. Shelley’s explanation of ordinary regular people, doing what they can with the tools that they have? Audience sympathy and understanding for her?
7. The background of the of the girls, their age, Jody and her age, her family, separations, seeing Shelley as something of a mother figure? Friendships, clashes, reliance? Especially with the show closing? Mary Anne, age and background, age, auditions, bond with Shelley?
8. Eddie, a different role for Dave Bautista, his long-time with the show, relationship with the girls, timing, his announcements, the show going on? The conversations with Shelley? The realisation that he was Hannah’s father, but nobody knowing, his admiration for Shelley but her not responding to him except as a friend and professionally? The invitation to the dinner, the conversation, the past, the tensions, Shelley leaving?
9. Hannah, her life, her mother, with the other family, moving to choose and, visiting her mother, her hard attitude, yet wanting to understand, the discussion about the commitment to the show compared with commitment to family, her eventually seen the show, her dismissing the show, her mother just wonder amongst 80? Her later returning, seeking out her mother, some kind of understanding, and needs for her mother, reconciliation?
10. The friendship with an net, her being a shadow dancer, age, gambling habit, in the pit, finance, her make-up and dress, the bonding and chats with Shelley, and the significance of the long dance sequence and her costume?
11. The repeat of the audition sequence, Shelley and her dance, explaining she was a dancer, her answering back to the man auditioning, her defiance?
12. Sequences her partner bird in Las Vegas, her posture, the dance movements?
13. The film keeping the show and the dance and the staging until later, the emphasis on the costumes, elaborate, their weight, the dances and the poison movement?
14. The film showing the end of the show business era, and its effect on those concerned? And the challenge for the committed Shelley to imagine a different way of life and future?

HAUNTED MANSION

US, 2023, 123 minutes, Colour.

LaKeith Stanfield, Rosario Dawson, Owen Wilson, Tiffany Haddish, Danny DeVito, Jamie Lee Curtis, Chase W .Dillon, Jarrod Leto, J.R.Aducci.

Directed by Justin Simien.

This review has been very much influenced by the experience of watching Haunted Mansion at a media preview, reviewers present but also a great number of children with their parents, youngsters.

At the end of the screening, the critics dismissed the film, seeing little value in it, finding it tiresome. And, that is confirmed by a number of reviewers and, checking the bloggers on IMDb, so many dismissing it as boring, unfunny, trite, seen it all before…, critical of Disney for remaking the story.

However, the experience of watching the film was for this reviewer quite different. Quickly becoming conscious of the youngsters in the audience, their responses of delight, especially with the ghosts, the hauntings, the struggles with the ghosts. This was made easy because one of the central characters is a nine-year-old boy, his father dead, his mother wanting to start a new life, their going to the mansion and immediately being haunted and terrified, fleeing, but the ghosts continually dragging them back to the mansion. There were several jump moments which seemed to delight the young audience.

The other thing noted about the young audience was its response to the jokes, to the funny lines, to the humour. Reviewers and bloggers dismiss this as being old hat, obvious, not very funny. But, it would seem that the young audience found these jokes very funny, a lot of out-loud laughter. While the adults may have heard the lines before, maybe this was the first time for the youngsters and they found it all quite funny.

In fact, the film has a strong cast, a very sympathetic LaKeith Stanfield as the sad widower, physicist, dragged into photographing the ghosts with a camera he had been working on. Rosario Dawson is a nice mother and Chase W. Dillon, an engaging nine-year-old. And the film has the comic skills of Danny DeVito as an ageing professor, Owen Wilson as an unconventional (emphasis on the con) priest, Tiffany Haddish as a loud medium and, rather surprisingly, Jamie Lee Curtis as a medium ghost from the past. An unrecognisable Jared Leto is the villain. The director, Justin Simien, has a reputation for satirical film and television, especially Dear White People.

So, an entertainment, PG rated, geared especially for children from 10 to 15 or so who can be accompanied by the parents who may be pleased that the young ones are actually enjoying the haunted mansion and the ghostly hijinks.

1.     The Disney theme park? Various film versions? Bringing the theme park ride alive?

2.     The Louisiana setting, city of New Orleans, ordinary life, the visualising of the mansion, exteriors, interiors, the ghosts, the special effects, the mansion and surroundings? The visit to the city, the police, the University…? The Crump mansion? The musical score?

3.     The focus on Ben, his personality, reticent, science, optics, the encounter with his wife, discussion about ghosts, her tours? Transition to his being down and out, crusty, the tourists, his comments?

4.     Gabby and Travis, the U-haul, the mansion, entering, the darkness, Travis and the room, the ghosts, their escaping back to the city?

5.     Father Kent, an Owen Wilson character, clerical, deadpan humour, challenging Ben? The offer of the money? Ben going, his camera, pretending to take photos and notes, driving away?

6.     The ghosts, appearances, pursuing the characters, forcing them to return to the mansion? Camping in the mansion, the experiences after midnight?

7.     Harriet, the medium, dress and style, reputation, self-promotion, conducting the seances, the strange phenomena, the pen and the writing? Her leaving, having to return? The story of Madame Leota, her reputation, wanting to get in touch, finding her head in the globe after unpacking the trunk? Contact with Madame Leota? The silence, Harriet not affected, then entering into the other world?

8.     Bruce, age, reputation, never having been to the mansion, wanting to go, his heart condition, the repartee with Father Kent? The discussions, the documents, Father Kent stealing them, Bruce coming to the mansion, trapped?

9.     The back story, gradual uncovering, William Gracey, the portrait, suicide, the death of his wife? The gradual revelation about Crump? The change of perspective on the ghosts, 999, their being trapped, Crump needing one more willing human to become a ghost?

10.  The seances, Ben and his experiences, the pursuits, getting advice from Gracie, getting onside with the ghosts and their support? The advice of Madame Leota?

11.  The human story, Travis, wanting contact with his father, Ben as a father figure, relationship with his mother? Bonding with Ben? Aiming to protect him, his going down the hall, retrieving the hat, in the car, coming out, his involvement? Gabby, her love for her son, protecting him?

12.  The stunt work, the chases, the transforming mansion, the ghosts?

13.  Father Kent and the truth about his identity?

14.  The buildup to the confrontation with Crump, his appearance, hat in the box, diabolical, Ben, his grief, memories of his wife, telling the sad story of her death, his being willing to sacrifice himself? Then turning against Crump, defying him, Crump gradually going down into the grave?

15.  The range of personalities of the ghosts, their being onside, helping, the old captain and taking him back to the sea, Gracey and his collaboration?

16.  The popularity of the Disney ride, on screen, the target audience of families and youngsters?