Eleanor the Great: A Mixed Bag of Feelings

So, there’s this film called Eleanor the Great on Netflix, and it offers a couple of interesting angles. First off, it’s Scarlett Johansson’s first attempt at directing. And then there’s the always-engaging June Squibb, who at 96, continues to captivate audiences. She really caught everyone’s attention with her Oscar nomination back in 2013 for her role in Nebraska. In this film, she portrays a sweet older woman whose increasing obsession could threaten an unexpected friendship with a college student played by Erin Kellyman.

Key Points: Eleanor, played by Squibb, is constantly cracking little jokes. Some might raise their eyebrows, but honestly, who cares? At 94, she’s enjoying life with her best friend and neighbor Bessie (Rita Zohar). They have this adorable routine—sharing a bedroom, waking up together, eating, going for beach walks, grocery shopping—you name it. However, when Bessie passes away, Eleanor transitions from the sunny Florida lifestyle to what her daughter Lisa (Jessica Hecht) describes as “assisted living” in her small Manhattan apartment with her grandson Max (Will Price). Eleanor, of course, refers to it as “going to Guantanamo,” leading to some amusing yet intense arguments over language and perspective.

The dynamic between Eleanor and Lisa isn’t the smoothest. At one point, Eleanor drops a bombshell on Max, revealing Lisa had the unflattering high school nickname “Class Mattress.” That’s probably enough to warrant some eye rolls about sending Eleanor away. She’s got this playful edge that hints at mischief, but it is subtly balanced with a short temper. So, Lisa, eager to get Eleanor out of her hair, enrolls her in community center classes. And in a twist of fate, Eleanor finds herself in a support group for Holocaust survivors. Honestly, she thinks, Oops, I might be in the wrong room here. But the warmth and candor from the group draw her in—much to her surprise. Yet, the stories being told are more aligned with Bessie’s past than Eleanor’s own.

A plan meant to be a simple ruse quickly spirals as Nina (Kellyman), who is working on a school project, gets intrigued by Eleanor’s life. Eleanor initially hesitates, but loneliness strikes hard. Nina also seeks a connection, having lost her mother six months ago and feeling distant from her father, a TV anchor named Roger (Chiwetel Ejiofor). They bond over pizza and walks. Eleanor even contemplates having a bat mitzvah, though Nina thinks that’s something tied to the traumatic past Eleanor shouldn’t have to revisit.

Similar Films: This movie might remind some viewers of Thelma, which felt bolder and more invigorating, pairing Squibb with another fresh talent, Fred Hechinger.

Performance Highlights: While the script has its drawbacks—some awkward dialogue—Kellyman shines through with touches of seriousness and depth.

Content Note: No adult themes to mention.

General Impressions: The connection between Squibb and Kellyman offers delightful moments, raising questions about why Eleanor the Great didn’t delve deeper into those instead of spinning an overly complicated plot filled with past deceptions. The story could have purely centered on the growth of their unlikely friendship, but instead becomes burdened by a convoluted narrative. Johansson struggles to balance the light-heartedness with some heavier themes in Eleanor’s journey. The script, penned by debut writer Tory Kamen, often feels uneven, as if someone tried to shift it into a comedic framework while it was meant to carry weight.

It’s unfortunate because Squibb and Kellyman deliver genuine performances but often find themselves limited by shallow dialogues about serious issues. The tension steadily builds as Eleanor’s life unravel, but the characters don’t feel fully fleshed out; instead, they seem like mere puppets of a storyline, often sidelined from realistic interactions.

In her portrayal of an elderly woman grappling with sadness, Squibb embraces flaws that make her relatable. Meanwhile, Kellyman’s character feels very approachable. Yet, the film suffers as Johansson and Kamen overlook the emotional truths at play. The final act rushes through significant moments, ultimately leading to a reflective montage that brushes over Eleanor’s wrongdoings with a comforting message about forgiveness and true friendship. There were definitely richer, more profound ways to resolve Eleanor’s struggles, but sadly, the film doesn’t manage to convey those ideas effectively.

Our Take: Eleanor the Great aims for something heartfelt but ends up missing the mark. Best to skip it.