Popularity: 10 (history)
| Director: | Noah Baumbach |
|---|---|
| Writer: | Emily Mortimer, Noah Baumbach |
| Staring: |
| Famous movie actor Jay Kelly embarks on a journey of self-discovery, confronting both his past and present, accompanied by his devoted manager, Ron. | |
| Release Date: | Nov 14, 2025 |
|---|---|
| Director: | Noah Baumbach |
| Writer: | Emily Mortimer, Noah Baumbach |
| Genres: | Comedy, Drama |
| Keywords | manager, europe, nostalgic, dramedy, actor, joyous, egotistical, cliché, famous actor |
| Production Companies | Heyday Films, Pascal Pictures, NB/GG Pictures |
| Box Office |
Revenue: $0
Budget: $0 |
| Updates |
Updated: Jan 08, 2026 Entered: Nov 23, 2025 |
| Name | Job |
|---|---|
| Emily Mortimer | Writer |
| Chris Peters | Art Direction |
| Rachel Durance | Editor |
| Chris Scarabosio | Sound Re-Recording Mixer, Supervising Sound Editor |
| Ivana Primorac | Hair Designer, Makeup Designer |
| Véronique Melery | Set Decoration |
| Valerio Bonelli | Editor |
| Nina Gold | Casting |
| Andy Madden | First Assistant Director |
| Nicholas Britell | Original Music Composer |
| Noah Baumbach | Director, Writer |
| Linus Sandgren | Director of Photography |
| Ben Wright | Stunt Coordinator |
| Jacqueline Durran | Costume Design |
| Mark Tildesley | Production Design |
| Ben Collins | Supervising Art Director |
| Douglas Aibel | Casting |
| David Simpson | Visual Effects Supervisor |
| Oliver Fergusson-Taylor | Visual Effects Producer |
| David Sinfield | Gaffer |
| George Drakoulias | Music Supervisor |
| David Neumann | Choreographer |
| Robert Madden | Second Assistant Director |
| Rod McLean | Art Direction |
| Luke Sanders | Art Direction |
| Arwel Evans | Standby Art Director |
| Michael Pybus | Assistant Art Director |
| Jordan Muir | Assistant Art Director |
| Dimitris Giannetos | Makeup & Hair |
| Ann Pala | Makeup & Hair |
| Samantha Kininmonth | Makeup & Hair |
| Niall Monteith-Mann | Makeup & Hair |
| Carmel Jackson | Makeup & Hair |
| Jade Levene-Endfield | Makeup & Hair |
| Cheryl Garvey | Makeup & Hair |
| Suzanne David | Makeup & Hair |
| Joseph Koniak | Makeup & Hair |
| Annabelle McMahon | Makeup & Hair |
| Ricci-Lee Berry | Makeup & Hair |
| Nina Rice | Production Sound Mixer |
| Gordon Cave | Special Effects Technician |
| Martin Ware | Casting Associate |
| Matthew Glasner | Casting Associate |
| Marlow Warrington-Mattei | Stunt Coordinator |
| Lorenzo De Nicola | First Assistant Director |
| Giacomo Scortichini | Second Assistant Director |
| Briseide Siciliano | Art Direction |
| Alessandro Santucci | Supervising Art Director |
| Alessio Bramucci | Gaffer |
| Emiliano Leurini | "B" Camera Operator |
| Alejandro Chávez | "B" Camera Operator |
| Carlotta Simula | Set Decoration Buyer |
| Alessio Bastianelli | "C" Camera Operator, "A" Camera Operator |
| Domingo Santoro | Hair Department Head |
| Francesca Iamundo | Key Hair Stylist |
| Francesca Scalera | Hairstylist |
| Simone Liardo | Hairstylist |
| Mirella Conte | Hairstylist |
| Raffaella Iorio | Makeup Department Head |
| Clarissa Antinori | Key Makeup Artist |
| Silvia Beltrani | Makeup Artist |
| Glenda La Rocca | Makeup Artist |
| Giulia Maran | Makeup Artist |
| Lidia Minì | Makeup Artist |
| Daniel Acon | Special Effects Supervisor |
| Tim Moen | Art Direction |
| Meg Everist | Set Decoration |
| Tony Bryan | Chief Lighting Technician |
| Jennifer Durban | Set Decoration Buyer |
| Clare M. Corsick | Hair Department Head |
| Robert Sharman | Production Sound Mixer |
| Melissa Malkasian | Key Hair Stylist |
| Roma Goddard | Hairstylist |
| Lucia Mace | Hairstylist |
| Paul Schmitz | Second Assistant Director |
| Maha | Makeup Department Head |
| Jennifer Zide | Key Makeup Artist |
| Corina C. Duran-Rabichuk | Makeup Artist |
| Raqueli Dahan | Makeup Artist |
| Akiko Matsumoto | Makeup Artist |
| Eleanor Sabaduquia | Makeup Artist |
| Paul Eliopoulos | Stunt Coordinator |
| Marie d'Hallivillée | First Assistant Director |
| Gregoire Thevenot | "A" Camera Operator |
| Quentin Jorquera | "B" Camera Operator |
| Bastien Planchenault | Sound Recordist |
| Roberto Gentili | "B" Camera Operator |
| Alessandro Trapani | First Assistant Director |
| Rowan Watson | Sound Designer |
| Matthew Collinge | Sound Re-Recording Mixer |
| Barnaby Smyth | Foley Artist, Foley Supervisor |
| Keith Partridge | Foley Mixer |
| Rebecca Glover | Foley Artist |
| Stuart Bagshaw | Foley Editor |
| Joe O'Halloran | Foley Editor |
| Glen Pratt | Visual Effects Supervisor |
| Kaley Edwards | Visual Effects Producer |
| Gavin McKenzie | Visual Effects Supervisor |
| Mark Webb | Visual Effects Producer |
| Stuart Bullen | Visual Effects Supervisor |
| Michelle Cullen | Visual Effects Producer |
| Teddy Blanks | Main Title Designer |
| Chris Lyons | Special Effects Makeup Artist |
| Name | Title |
|---|---|
| Noah Baumbach | Producer |
| Donald Sabourin | Executive Producer |
| David Heyman | Producer |
| Amy Pascal | Producer |
| Emily Mortimer | Executive Producer |
| Christine Crais | Co-Producer |
| Madeline Donahue | Associate Producer |
| Organization | Category | Person |
|---|
Popularity History
| Year | Month | Avg | Max | Min |
|---|---|---|---|---|
| 2024 | 4 | 8 | 16 | 2 |
| 2024 | 5 | 11 | 19 | 8 |
| 2024 | 6 | 7 | 20 | 2 |
| 2024 | 7 | 8 | 21 | 4 |
| 2024 | 8 | 5 | 10 | 2 |
| 2024 | 9 | 3 | 6 | 2 |
| 2024 | 10 | 4 | 9 | 1 |
| 2024 | 11 | 4 | 9 | 2 |
| 2024 | 12 | 5 | 17 | 1 |
| 2025 | 1 | 5 | 13 | 3 |
| 2025 | 2 | 3 | 5 | 1 |
| 2025 | 3 | 3 | 8 | 1 |
| 2025 | 4 | 1 | 3 | 1 |
| 2025 | 5 | 2 | 3 | 1 |
| 2025 | 6 | 1 | 2 | 1 |
| 2025 | 7 | 1 | 3 | 1 |
| 2025 | 8 | 2 | 4 | 1 |
| 2025 | 9 | 3 | 4 | 2 |
| 2025 | 10 | 5 | 6 | 3 |
| 2025 | 11 | 5 | 7 | 2 |
| 2025 | 12 | 38 | 96 | 5 |
| 2026 | 1 | 12 | 13 | 10 |
Trending Position
| Year | Month | High | Avg |
|---|---|---|---|
| 2026 | 1 | 65 | 102 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 12 | 1 | 53 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 11 | 51 | 163 |
FULL SPOILER-FREE REVIEW @ https://fandomwire.com/jay-kelly-review/ "Jay Kelly is a dense and unforgettable drama from Noah Baumbach, where George Clooney's inspired performance reaches a peak of vulnerability, giving life to a man trapped between professional success and personal emptiness. I ... t's a thematically rich story about the tyranny of memory and the high cost of ambition, questioning whether success compensates for lost bonds. With directing, editing, cinematography, and score that transform dialogue into pure intimacy and organically link the past and present, the film is technically and emotionally superb, rejecting the convenient ending in favor of life's bittersweet truth. The only way forward is ahead, learning to love the story that, by choice, became our own." Rating: A
Those familiar with my writing are likely well aware that I have often said the cardinal sin in moviemaking is predictability (why see a film if you already know what’s going to happen?). On the heels of that belief, my second biggest cardinal sin in this field is a lack of originality (to a great d ... egree because predictability often walks hand in hand with this shortcoming). And, unfortunately, those are the problems that sink this latest effort from writer-director Noah Baumbach. In a nutshell, this offering tells the story of its self-important title character (George Clooney), a successful but aging movie star who’s beginning to realize that his life has slipped away from him, leaving him with a pile of professional and personal regrets, many of which involved burning some significant bridges. Through a series of flashbacks (and a whole lot of vacuous hand wringing that’s quickly and easily dismissed), he sees – perhaps for the first time – how he’s squandered much of his time and alienated many kindreds, leaving him feeling fundamentally empty. (Now there’s a novel idea for a story – a pampered, self-absorbed LA celebrity who experiences a midlife (or, in this case, a late life) crisis and goes into meltdown mode to haplessly search for “meaning.”) But haven’t we already seen this storyline play out countless times before in other releases, such as “All That Jazz” (1979), “Stardust Memories” (1980) (and the film it’s based on, “8½” (1963)), “Bardo” (2022) and “Birdman” (2014), to name only a few. So what does “Jay Kelly” offer that’s new to this narrative? Frankly, nothing. And, to make matters worse, it doesn’t even traverse this well-worn ground very effectively (all of the aforementioned predecessors having done a much better job at this). There’s little to like about – or even empathize with – any of the characters in this story, leaving viewers to sigh a big “So what?” Even the protagonist is unengaging, coming across as an amalgamation of his (i.e., in essence, Clooney’s) on-screen personas. The effect of this is shamelessly self-congratulatory that essentially plays like a reel of the actor’s greatest hits, set against a backdrop of superficiality and relentlessly obtrusive product placement (again, so what?). In fact, the most interesting players in this production are the supporting characters, such as an old acting school colleague (Billy Crudup) and the director who gave Kelly his start (Jim Broadbent). Regrettably, though, these characters are relegated to comparatively small roles with little screen time. The supporting character who receives the lion’s share of such attention is Kelly’s manager (Adam Sandler), a wholly uninteresting, inconsequential cast member who could have been easily eliminated without losing a thing. In short, this whole affair is so shallow and so LA-clichéd that it’s difficult to care about any of it in the slightest, all the while trying to pass itself off as something sublimely profound. (Yawn.) Sadly, this vehicle is a waste of Clooney’s and Baumbach’s considerable talents. Both are better than what they’ve produced here. Indeed, if there’s genuine tragedy to be had in this effort, their derivative, uninspired creative output on this project would undoubtedly be it.