Synopsis
Eleanor the Great introduces viewers to Eleanor Morgenstein, a sharp‑witted ninety‑year‑old who has spent most of her life in Florida. After her close friend Bessie passes away, Eleanor’s daughter Lisa relocates her to Manhattan’s bustling Upper West Side. Determined to stay independent, Eleanor joins a local Jewish community center, where she unexpectedly claims the tragic history of a Holocaust survivor—Bessie’s story—as her own. This fabricate draws the attention of Nina, an ambitious college journalism student portrayed by Erin Kellyman, who sees in Eleanor a compelling subject for a campus article. As the two form an unlikely bond, Eleanor navigates complex family dynamics, a strained relationship with her famous TV‑journalist father Roger (Chiwetel Ejiofor), and the looming threat of being placed in a nursing home. The film’s central conflict hinges on the secret that eventually surfaces, altering the dynamics of both Eleanor’s personal life and her new friendship.
Performances
June Squibb delivers a luminous performance as the titular nonagenarian, blending humor with a underlying melancholy. Known for her roles in Nebraska and the recent Thelma, Squibb brings a comedic edge that lights up the screen, yet she never loses the depth required for a character grappling with loss and identity. Her timing is impeccable, turning every sarcastic remark into both a laugh and a poignant observation.
Erin Kellyman portrays Nina with youthful curiosity and journalistic ambition, providing a solid counterbalance to Squibb’s elder. Their on‑screen chemistry feels genuine, driving the emotional core of the story. Jessica Hecht as Lisa, the concerned daughter, and Rita Zohar as the late Bessie add necessary emotional weight, while Chiwetel Ejiofor offers a brief but memorable cameo as the estranged, high‑profile father.
Behind The Lens
Scarlett Johansson, making her directorial debut, chooses a straightforward, conventional approach to the material. While her reverence for the source script is evident, the direction leans heavily on tried‑and‑true narrative devices—predictable conflicts, sudden revelations, and well‑placed dramatic coincidences.
The friendship between Eleanor and Nina serves as the emotional engine, echoing countless “odd‑couple” tales that have preceded it. While the film does offer a few fresh observations about intergenerational communication, it largely adheres to established tropes, making the outcome feel somewhat foreseeable. The biblical references and “dramatic coincidences” that pepper the script add a layer of predictability, reinforcing the sense that the story could have benefited from bolder, less formulaic storytelling.
The screenplay, penned by Tory Kamen, is structured around classic three‑act beats. The setup introduces Eleanor’s circumstances, the development charts her evolving relationships, and the climax delivers the inevitable revelation. This traditional framework provides a comfortable safety net, but it also limits the film’s ability to surprise. Johansson’s direction is competent but conservative; she trusts the script’s rhythm and lets the performances carry the weight. The result is a polished, feel‑good dramedy that rarely takes risks.
Technically, the cinematography captures Manhattan’s vibrancy, juxtaposing bustling streets with the intimate interiors of the community center. The score, a gentle mix of contemporary and classic motifs, underscores the emotional beats without overwhelming the narrative.
Final Verdict
Eleanor the Great is a warm, well‑intentioned film that succeeds in delivering a few genuine emotional moments, largely thanks to June Squibb’s magnetic presence. Its biggest strength— Squibb’s ability to infuse humor into otherwise heavy scenes—also underscores the film’s central weakness: an overreliance on familiar formulas. While the Holocaust theme is handled with reverence, its use can feel forced, potentially alienating viewers seeking a more nuanced portrayal.
For audiences seeking a light, uplifting watch, the movie fits the bill perfectly. However, as a contender for festival accolades, it may lack the edge needed to stand out in a crowded field. Despite this, the prospect of an Oscar nomination for Squibb’s lively centenarian role is not far‑fetched, given her ability to captivate and command the screen.
Eleanor the Great streams on region specific digital platforms and on HBO Max from June 25, 2026.
