Jay Kelly Review (2025 BFI London Film Festival)
There’s always an air of expectancy when Noah Baumbach returns behind the camera, and Jay Kelly, his first feature since 2022’s polarising adaptation of Don DeLillo’s White Noise, is perhaps his most mainstream effort so far (outside of his co-writing work with wife Greta Gerwig on 2023’s Barbie). And, thus, perhaps comes with the most pressure he has ever had to deliver a more accessible film, even though many of his previous films have been an utter joy. Recently, though, he has ditched his screwball comedy leanings for something larger, something more alluring, and there’s nothing bigger or more alluring than George Clooney.
Baumbach, through lots of his work, has long been interested in identity, regret, and growing old and with Jay Kelly, he fully leans into those themes by staging a road trip across Europe for his titular movie star (Clooney), who is at a crossroads in his career and is looking at either the continued monotony of making movies and the trophies – one of which he is off to Tuscany for – or trying to make amends with his two daughters (Riley Keough and Grace Edwards), his estranged father (wonderful to see Stacey Keach back on screen) and his long-suffering manager, Ron, beautifully played by Adam Sandler, as well as his entourage that includes publicist Liz (Laura Dern) and make-up guru Candy (Emily Mortimer).
Beautifully and sumptuously shot, opening with a stellar “oner” as Jay completes his final scene of his latest film (and, as ever, dies at the end), its the landscapes – from the hue of the soft Tuscan countryside to the ornate charms of some old European cities – that are the most dramatic and stark, mirroring the inner desolation of our protagonist. Indeed, Baumbach and co-writer Emily Mortimer, who brings her own long and varied career in front of the camera to the fore, manage to beautifully balance the satire of Hollywood and the much-talked-about “death” of movie stars, with the melancholy of life, age, regret and heartache. There are some heavy emotional beats here, but both balance those out wonderfully with the funnier, more tongue-in-cheek moments.
For all the will of filmmaking and writing, though, something like Jay Kelly lives and dies on who embodies said movie star in his beautiful suits and sock-less loafers, and who else would you think of but Clooney for this? He is Jay Kelly in the flesh, after all, and his star persona is perhaps at its most charming and bewitching here in what may go down as his greatest triumph. Rich with openness and understanding, Clooney’s double-edged performance of the polished global icon and his disconnected, haunted side, full of small cracks and his trademark apologetic smiles that bring a sincerity that only he can provide, all come together to provide the former Batman star (it’s never mentioned, sadly, even though a Kelly career montage is a Clooney career montage, loss of half a star) with his most devastating yet utterly captivating performance to date.
Somehow, though, Clooney is slightly upstaged by Happy Gilmore, with Sandler once again showcasing his own charisma and charm as Baumbach wrestles yet another stunning dramatic role from the big kid. As Kelly’s soundbound, buffer, fixer and brother, Sandler is quietly devastating here: years of sacrifices and work in the shadows bring longing and regret, continuously crushed, he cannot be there for his family when they need him most, whilst Kelly continues to flaunt and smug his way around town. It’s a quiet, understated turn that’s a million miles away from his gawkish man-child, but when he does work like this, it’s a wonder Sandler doesn’t hang up the annoying voice for good, especially when he’s this profound and emotionally perceptive.
There are some weaknesses, however, and most come from the overzealous nature of the screenplay, which peters out somewhat in the film’s final act, meandering to its conclusion when the two leading up to it were so confident and assured. Indeed, some of the emotional beats don’t quite land as they should, particularly when Kelly spars with his father or mentor, played wonderfully by Jim Broadbent, and though much works, the celebrity of it all sometimes hits a bum note. Still, Baumbach’s work is some of his most assured yet, and when all is said and done, the balance is just about right.
One of Baumbach’s most ambitious and sprawling films to date, Jay Kelly is a compelling, humane and uplifting drama about Hollywood, fame and embracing our latter life challenges, even if it takes a little too long to get there. Lifted high by Clooney and Sandler’s tremendous turns that will continue to grow as the awards season heats up, it’s one of the most quietly affecting films of the year.
★★★★
In select cinemas November 14th, on Netflix from December 5th / George Clooney, Adam Sandler, Laura Dern, Grace Edwards, Riley Keough, Stacey Keach, Billy Crudup, Greta Gerwig, Eve Hewson, Patrick Wilson, Emily Mortimer, Jim Broadbent, Charlie Rowe, Louis Partridge / Dir: Noah Baumach / Netflix
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