Jay Kelly

There was a time when a pairing like George Clooney and Adam Sandler would have felt like an automatic win. Jay Kelly arrives carrying that expectation, along with the promise of a reflective, midlife character study built on wit, melancholy, and lived-in performances. Unfortunately, the film never quite finds its footing, resulting in a viewing experience that is more puzzling than provocative.

The biggest issue is apparent early on. The first half of Jay Kelly feels strangely undercooked, not in terms of effort but in execution. Scenes drift without momentum, tonal choices feel uncertain, and the film appears unsure of what kind of story it wants to tell. Is this a gentle comedy, a character-driven drama, or an offbeat meditation on aging and regret? Rather than allowing those elements to organically coexist, the film toggles between them in a way that feels hesitant and uneven. The result is a movie that feels "off," a hard sensation to pin down but impossible to ignore.

Clooney and Sandler are both serviceable, but that word is hardly a compliment given what they are capable of. Clooney leans on his familiar, weathered charm, while Sandler delivers a muted, introspective turn that recalls some of his better dramatic work - yet neither performance feels fully shaped. There's a sense that both actors are waiting for the material to deepen, to demand more from them, and that moment rarely comes. The supporting cast does little to elevate the film, existing more as functional pieces than fully realized characters. To its credit, the film improves as it goes. The latter half contains several genuinely effective moments, hints of emotional clarity and thematic purpose that suggest the film finally understands what it wants to be. These scenes are quietly affecting and make the disappointment sharper, as they reveal the stronger movie buried beneath the surface.

It's easy to see why Jay Kelly has found its defenders. The intentions are thoughtful, the atmosphere is mild and reflective, and the story gestures toward meaningful ideas about connection and identity. But intention alone isn't enough. What's missing is conviction - in pacing, in tone, and in storytelling. Jay Kelly isn't a failure so much as a missed opportunity, a film that had the tools to resonate deeply but never fully figured out how to use them.

I've loved Noah Baumbach from the jump, however here we are in 2025 with a retrospective character study that grabs, dips, and meanders from a semi-relatable introspection to how-did-we-get-here slog. I liked it? Yes, mostly. I was never bored, and I did laugh out loud at quite a few parts, it's just - - - editing, I guess? Some things definitely could have taken up residence on the cutting room floor. Sandler does a fine job, as does the entirety of the cast. I cue Sandler though because Sandler. He isn't exactly known for his subtlety. The music is a nice stand out. Mortimer being co-writer, her character could've gotten more play. And Laura Dern? Love her. But if the film lost her character entirely, that might give the pace a little more? As it stands, it's the cacophonous surroundings of Jay Kelly's world that elevate the film as much as it bogs itself down. Less is more.

Plot (Spoiler-Free)

Jay Kelly, a famous Hollywood actor, finds himself at a crossroads during a break in filming. When his mentor Peter Schneider dies, Jay is hit with profound loss and regret-especially since he had recently refused to help Peter, who had fallen on hard times. Restless and unsatisfied with his life despite his success, and unable to connect with his estranged daughters, Jay embarks on an impromptu journey through Europe with his devoted manager Ron. As they travel by train through Italy, memories of his past surface-particularly regarding his family and the choices he made for his career. What begins as an escape gradually becomes a reckoning, forcing Jay to confront the gap between who he presents himself to be and who he actually is beneath the star persona.

What I Liked

The opening long take immediately establishes the film's thesis, immersing us in the chaos of a film set while maintaining perfect clarity. The cinematography and blocking work in harmony to show that everything is performance, even off-camera. Beyond Hollywood satire, the film explores a deeper loneliness-being surrounded by people whose proximity is transactional. Adam Sandler as Ron, Kelly's manager, brings genuine heart, seeing Kelly as a person rather than a brand, while Laura Dern perfectly embodies detachment and the terror of leaving controlled environments. The integration of memories feels organic, invading the present rather than explaining it. The contrast between frantic sequences and quiet moments-particularly the forest scene-powerfully conveys what remains when performance becomes impossible.

What I Didn't Like

The Lars Eidinger scene felt like a sketch rather than a necessary narrative component. The opening fight remains surprisingly inconsequential despite seeming like important setup. One or two conversations pivot abruptly in ways that didn't quite land. The dramaturgical progression of memories could have been clearer-some moments felt like vignettes without marking which stage of Kelly's internal journey they represented.

Open Questions

Is the final video genuine memory or wishful thinking? The ambiguity is powerful-if Kelly really left his family, this isn't reconciliation but self-deception. Does his final acceptance represent liberation or resignation? Is he finding freedom or simply playing the game more consciously? What's the meaning behind the cake on his rider that he doesn't actually like-extravagance as pose, individuality as brand packaging?

Final Verdict

At 8-9/10, this is my film of the year. It refuses to choose between documentary realism and Hollywood glamour, showing both as true and precisely why that's unsettling. The film masters the balance between chaos and stillness, technical brilliance and emotional honesty, asking what's left when performance becomes impossible-and having the courage not to provide comfortable answers.

An aging megastar (George Clooney) discovers that he has sacrificed far too much of his magnificent 35-year career in his private life. With his entire entourage (including Laura Dern and Adam Sandler as assistants whose sole purpose in life is Jay Kelly's well-being), he follows his recently grown daughter to Paris and accepts a trivial film award in Tuscany.

Hollywood is once again searching its own navel for entertaining stories about privileged people experiencing an existential crisis. The only noteworthy aspects are the European stars in minor supporting roles. Alba Rohrwacher plays a laid-back festival employee from Italy, and Lars Eidinger appears as a German cyclist with mental health issues. Oh yes, and it was nice to see Stacy Keach again, who plays Jay Kelly's father.

You can certainly laugh in Noah Baumbach's film, but primarily at the clash between the saccharine world of a Hollywood star and the everyday reality of ordinary people. It's entertaining, but also quickly forgotten.

This film stretches a premise that could barely sustain a short into a full-length feature, and the padding shows. The characters exist in isolation from one another, creating zero chemistry or meaningful interaction that might draw viewers in.

The casting defaults to the tired formula of white male protagonists, while Europe is rendered through embarrassingly outdated stereotypes that feel decades out of touch. The performances across the board are wooden and unconvincing, suggesting either poor direction or miscast roles-likely both.

In two decades of watching films, this stands out as the most unnecessary addition to cinema I've encountered. Skip it.