Review: “Eleanor the Great”

By Morgan Roberts

Director: Scarlett Johansson
Writer: Tory Kamen
Stars: June Squibb, Erin Kellyman, Chiwetel Ejiofor, Jessica Hecht, Rita Zohar, Will Price
Runtime: 98 minutes
Year: 2025

Eleanor Morgenstein (June Squibb) is at a crossroads in her life. Following the death of her best friend Bessie (Rita Zohar), Eleanor is moving back to New York City after living in Florida for years. She moves in with her recently divorced daughter Lisa (Jessica Hecht) and her grandson Max (Will Price). The Yorkville apartment begins to feel constricting as Eleanor spends long periods alone, even on Shabbat when no one joins her for dinner. Lisa signs up Eleanor for a group at the local Jewish Community Center (JCC), where she accidentally joins a Holocaust survivor support group. The only problem is that her survivor story actually belongs to Bessie. Nevertheless, this harrowing tale piques the interest of journalism student Nina (Erin Kellyman). Soon, Nina and Eleanor begin an unlikely friendship, one which connects Nina to her Jewish roots following the recent death of her mother. But as Nina continues to pursue the tales Eleanor tells, her father, news anchor Roger (Chiwetel Ejiofor), becomes involved, which jeopardizes Eleanor’s friendship with Nina.

“Eleanor the Great” is the feature directorial debut from Oscar-nominated actress Scarlett Johansson. A New York, native, Johansson infuses the city as an omnipresent character throughout the film, paying homage to the neighborhood that shaped her youth. The city is as much a character as Eleanor and the people who populate her world.

Eleanor herself is a tad of a prickly character. She is self-assured and while it demonstrates her independence, it can also come across as arrogant and belittling. But her harsh delivery comes from a desire to care for those around her, especially Bessie, who, even after her passing, Eleanor finds ways to continue to care for her memory. Eleanor also has a connection to her Jewish faith, seeking to have a bat mitzvah in her 90s. It’s this connection that leads her to Nina. Squibb shines in Eleanor’s layers. A woman so desperate for connection, she goes to great lengths for it. Squibb also fearlessly leans into Eleanor’s imperfections, giving her hues and shades which demonstrate that making mistakes and learning from them is a timeless journey. It’s a deeply human performance that is also aided by the great work of her frequent scene partner, Erin Kellyman.

Nina (Erin Kellyman) and Eleanor (June Squibb) in “Eleanor the Great” | Sony Pictures Classics

Kellyman brings a beautiful depth to her performance. Nina has recently lost her mother, her father - in his own grief - isn’t able to talk to Nina about her mom, and in an effort to connect with her parents, she finds avenues to interrogate their identities. To connect with her father, Nina deviates from creative writing and focuses her education on journalism. Rooted in her education is a desire to be seen by her own father. To connect with her mother, she begins to explore Judaism, with support and guidance from Eleanor. Kellyman allows Nina’s vulnerabilities and hopes and dreams shine in truly nuanced ways. Her characterization is far more interior, but it draws the audience in. Kellyman truly holds her own in many scenes with Squibb, adding a soft assured nature to juxtapose Eleanor’s sometimes abrasive demeanor. Her gentleness gives Eleanor room to soft a bit herself. Squibb and Kellyman truly are the highlights of this film.

While “Eleanor the Great” has heart and charm thanks to the performances of Squibb and Kellyman, the film wavers in its sources of conflict. The film feels as if it is trying too hard and trying to say too much when really, this is just a story about grief, living in bereavement, and what it means to be a person. Instead, we have unnecessary plot points and too much it plans to explore that what it is saying is far more superficial than it believes itself to be. For instance, the main source of conflict is Eleanor pretending to be a Holocaust survivor, sharing Bessie’s experience as her own. This could be plausible pre-2000, but given how easy it is to research someone on the internet, this catalyst is utterly baffling and unbelievable. Additionally, the threads of grief and Jewish identity aren’t able to co-exist without this mind-boggling source of conflict, which is a shame because these explorations, while very surface-level, are the more compelling aspects of the film. The film suffers from an inconsistent thesis,l which undermines the work of the actors.

There are moments where “Eleanor the Great” shines, and it is largely due to the captivating work of its actors. Sadly, because of a muddled execution, the film is difficult to believe, and, at times, frustrating to watch. My hope is that Johansson finds another story to return to directing. You can tell there’s talent as a director by the performances seen in the film; those are glimmers of hope. But you can’t help but wonder what Johansson would be able to achieve with a tighter script, a clearer thesis, and other personal avenues to explore. “Eleanor the Great” truly wears its heart on its sleeve but struggles to truly get to its emotional core.

Grade: C
Pair This Film With: “Laggies” (2014) dir. Lynn Shelton; “Late Bloomers” (2023) dir. Lisa Steen