Veteran broadcaster and former KHOU news anchor John Hambrick died in Round Rock after a year-long battle with lung cancer. He was 73.
A Conroe native, Hambrick launched his long television career in the Dallas area during the early 1960s before making a name for himself on the evening news in Cleveland. The charismatic anchor soon found himself landing major market stints in Los Angeles, San Francisco and New York, where he'd win his first of several Emmy awards.
The son of an Humble Oil worker, Hambrick grew up around the oil fields of east Texas and Louisiana.
"He approached anchoring the news and writing copy as a creative process."
His early interests in performing lead him to study theater in the late '50s at the University of Texas at Austin, a path he quickly abandoned for Hollywood and a series of small television roles.
Throughout his life, Hambrick fostered his creative side alongside journalistic pursuits — whether it was recording rock and country songs in Nashville or taking bit parts on shows like Friday Night Lights.
In 2002, he produced a documentary with his son and fellow TV news anchor Jack about a group of pioneering African-American artists in Florida. In 2010, he partnered with former news colleague on a screenplay for an action film based on actual events from the Civil War.
"My dad was a creative person, an artist," Jack Hambrick tells WEWS in Cleveland. "He approached anchoring the news and writing copy as a creative process. Whether it was writing scripts, anchoring the news or recording a country album, it was all about creativity with him."
John Hambrick will be buried in Lone Oak, just east of Dallas.
Hambrick's charisma landed him a number of acting roles throughout his career, including a small part on Friday Night Lights.
IMDB.com
Hambrick's charisma landed him a number of acting roles throughout his career, including a small part on Friday Night Lights.
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.
