‘My Old Ass’ Review: If She Could Turn Back Time

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Dec 29

Maisy Stella and Aubrey Plaza in “My Old Ass.”**Marni Grossman/Amazon Studios**

A clever, funny, and unexpectedly poignant exploration of youth, regret, and self-discovery, My Old Ass is a triumph of wit and heart, brought to life by Maisy Stella and Aubrey Plaza’s electric performances.

Megan Park’s My Old Ass is a cinematic gem that defies the conventions of the coming-of-age genre while exploring profound and universal questions about life, regret, and the fleeting beauty of the present. Anchored by two extraordinary performances from Maisy Stella and Aubrey Plaza, the film balances its whimsical premise with sharp humor, emotional depth, and an unwavering focus on character. It is a story not only about becoming who you want to be but also reconciling who you were, all wrapped in a surreal yet deeply resonant narrative that lingers long after the credits roll.

The film opens in the idyllic Muskoka region of Ontario, where Elliott LaBrant (Maisy Stella) is spending her last summer before heading to college. At 18, Elliott embodies the messy contradictions of adolescence: she’s fiercely independent, confident in her ability to drive a tractor or steer her motorboat, yet clumsy in her emotional relationships and prone to thoughtless decisions. Stella delivers a captivating and lived-in performance, portraying Elliott as a fully realized young woman—funny, stubborn, and brimming with the restless energy of youth. She’s the kind of teenager who forgets to show up for her own birthday dinner but can still charm her way out of trouble with her family.

Elliott’s world is filled with familiar touchstones of small-town life. She has two loyal best friends—Ro (Kerrice Brooks), a free-spirited rebel, and Ruthie (Maddie Ziegler), whose sharp tongue hides an earnest devotion to their friendship. She spends her days navigating her family’s cranberry farm and her evenings nursing a crush on the local coffee shop barista. The future seems bright, with college in Toronto just weeks away, but Elliott’s sense of purpose is muddled by the pangs of nostalgia and the weight of her impending departure.

The film takes an unexpected turn when Elliott and her friends decide to celebrate her 18th birthday by experimenting with psychedelic mushrooms on a secluded island. What begins as a typical coming-of-age ritual quickly evolves into something surreal and extraordinary: Elliott is visited by her 39-year-old self (Aubrey Plaza), who materializes at the campfire during the trip. With her trademark wit and sardonic humor, Plaza’s older Elliott is a jaded, no-nonsense version of the teenager she once was. The dynamic between Stella’s youthful exuberance and Plaza’s cynical wisdom creates a fascinating interplay, as both versions of Elliott grapple with the choices that have shaped their lives.

Plaza delivers one of her finest performances, blending her sharp comedic instincts with moments of profound vulnerability. Older Elliott is quick to dole out advice—some of it practical, some of it cryptic, and some of it hilariously petty (like her vehement warning to avoid Chad, played with disarming charm by Percy Hynes White). Yet beneath her snarky exterior lies a deep well of regret, and as the summer unfolds, both Elliotts begin to understand the value of appreciating the present while it lasts.

Megan Park’s direction is both visually stunning and emotionally astute. The film’s setting—a pristine Canadian lake surrounded by lush forests—is captured with a dreamlike quality that evokes the golden haze of childhood summers. Park masterfully balances the surreal elements of Elliott’s time-traveling encounter with the grounded reality of her relationships with family and friends. The script, also penned by Park, is rich with humor and insight, seamlessly blending the fantastical premise with authentic moments of self-reflection and growth.

The supporting cast adds texture and depth to the story. Kerrice Brooks as Ro is a standout, bringing warmth and mischief to every scene, while Maddie Ziegler’s Ruthie provides a sharp and often hilarious counterbalance to Elliott’s impulsiveness. Percy Hynes White’s Chad exudes a charm that makes Elliott’s older self’s warnings feel both amusing and prescient. Maria Dizzia offers a nuanced portrayal of Elliott’s mother, whose quiet strength and love for her daughter underscore the film’s exploration of familial bonds. Seth Isaac Johnson and Carter Trozzolo round out the family dynamics as Elliott’s brothers, adding moments of humor and heartfelt connection.

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What elevates My Old Ass beyond its clever concept is its thematic richness. The film is a poignant meditation on the inevitability of change and the bittersweet nature of growing up. At 18, Elliott is on the cusp of a new chapter, eager to leave behind the comforts of home and embrace the unknown. At 39, her older self is grappling with the choices that have led her to a life she never quite imagined. Their interaction is a reminder that the path to self-discovery is rarely linear and that the moments we take for granted in youth often become the memories we cherish most in adulthood.

The film wisely avoids over-explaining the mechanics of Elliott’s connection to her older self. Instead, it leans into the emotional truths of their relationship, using the fantastical premise as a lens through which to explore universal questions. Would we change our choices if we knew how they would turn out? Can we ever truly prepare for the passage of time? And, most importantly, can we learn to forgive ourselves for our missteps and embrace the imperfect beauty of our lives?

The film’s visual and sonic elements are equally compelling. Tyler Hilton and Jaco Caraco’s score enhances the film’s emotional resonance, blending wistful melodies with vibrant, youthful energy. The cinematography captures the natural beauty of Muskoka with a warmth and intimacy that mirrors the film’s nostalgic tone, while the psychedelic sequences offer bursts of vibrant color and surreal imagery that reflect Elliott’s emotional journey.

If there is a flaw to be found, it lies in the film’s occasional reliance on familiar coming-of-age tropes, such as the obligatory romantic subplot or the predictable “big fight” between friends. However, these moments are handled with such sincerity and charm that they feel more like affectionate nods to the genre than tired clichés.

Ultimately, My Old Ass is a film that transcends its whimsical title and fantastical premise to deliver a story that is deeply human and profoundly moving. It is a celebration of life’s messy, beautiful contradictions and a reminder to cherish the moments that shape us, even as they slip into memory.