Jay Kelly : Austin Film Festival Review

The older I get, the more I think about how quickly life moves — and how important it is to stop and take a look around while it’s happening. When we’re young, we believe we have endless time to do everything: to be successful, to raise a family, to “win” at life. But when you look back, you often realize that the juggling act you thought you were mastering wasn’t as graceful as you imagined. Noah Baumbach’s new film Jay Kelly is about that kind of reflection — the kind that might just make you pause and look at your own life a little differently.

Jay Kelly (George Clooney) is one of the world’s biggest movie stars. After wrapping his latest film, he’s preparing to jump right into the next one when news arrives that the director who gave him his first big break has passed away. Jay attends the funeral, where he reconnects with an old classmate, Timothy (Billy Crudup). The two share drinks and laughs — until Timothy suddenly claims that Jay “stole his life,” insisting he was meant to have the role that launched Jay’s career. The encounter rattles Jay. After a scuffle, he returns home with a new plan: say no to the next movie and yes to reconnecting with his daughter Daisy (Grace Edwards), who’s traveling through Europe.

Jay charters a plane, bringing along his manager Ron (Adam Sandler) and his team, and heads to Paris to meet Daisy. But once on the ground — and later on a train through Europe — the trip becomes less about meeting his daughter, who’s eager to go her own way, and more about Jay himself. As he retraces his past, he begins to question whether his choices were worth what they cost. Along the journey, he loses more and more of his entourage but, in turn, finds more and more of himself.

Written by Emily Mortimer and Noah Baumbach, Jay Kelly is a graceful blend of fiction, memory, and the present, all merging into one vivid emotional landscape. Jay is every bit the Hollywood icon — larger than life — and as the story unfolds, his reality begins to resemble scenes from the kinds of films he’s known for, including his strained interactions with family and friends. There’s a genuine sincerity to Jay Kelly, and Baumbach and Mortimer use the story to pay homage to old-school movie stardom. Though it can occasionally dip into sentimentality, it ultimately holds together as a charming, reflective, and deeply human piece of work.

Jay Kelly is visually stunning and serves as a compelling character study, anchored by a remarkable cast. Some might argue Clooney is one of the last true movie stars, and he feels right at home here. His performance is both self-reflective and clever — and yes, that classic Clooney charisma is on full display.

The film’s other pillar is Adam Sandler, who once again proves just how strong he is in dramatic roles. Sandler gives a grounded, empathetic performance, fully embodying the quiet loyalty of a man who knows the real Jay better than anyone. The rest of the ensemble — including Laura Dern, Riley Keough, Greta Gerwig, and Jim Broadbent — adds depth and richness to the film, each enhancing it in small but meaningful ways.

Jay Kelly delivers several great moments, including a moving finale that underscores the power of art and cinema in shaping our lives. Even with a few minor flaws — an overlong runtime and a somewhat uneven script — the film’s heart, performances, and emotional resonance more than make up for them.

In the end, Jay Kelly stands as a touching meditation on fame, regret, and rediscovery — and thanks to the irresistible pairing of Clooney and Sandler, it’s a journey well worth taking.