“My Old Ass” (2024) succeeds as a time travel movie for the same reason that many classics in the subgenre have worked so successfully; it understands that time travel itself is a mechanism used to create interesting plot scenarios, regardless of whether or not the logic of the science makes any actual sense. “Back to the Future” works because the concept of a teenager meeting his parents when they were young is brilliant. Similarly, the concept of reliving the same day over and over again is what makes “Groundhog Day” fun, even though it never really explains why this is happening.
“My Old Ass” may not be remembered alongside classics like “Back to the Future” or “Groundhog Day,” but it creatively explores the inherent struggles of aging and the uncomfortable truths of adulthood. At the center of Megan Park’s whimsical dramedy is the breakout star Maisy Stella as Elliot, an 18-year-old who takes a trip with her friends and family to a lake house as she celebrates her birthday. Elliot is concerned about the transition to college in which she will leave her family behind, but she’s also hesitant about moving forward to the next stage of her relationship with Chelsea (Alexandria Rivera), a classmate that she has been smitten with since middle school.
Initially, there’s not much that would suggest that “My Old Ass” is any different than the countless coming-of-age dramedies that hit the independent film market every year. The rather grounded, emotionally authentic atmosphere that Park creates in the early scenes sets the stage well for the inevitable twist, in which an older version of Elliot (played by Aubrey Plaza) appears to warn her about meeting a boy named Chad (Percy Hynes White). Elliot is shocked when she realizes that Chad is actually a very wise, articulate, and funny boy that she instantly falls for. Despite the barrage of messages that she receives from her future self, the younger Elliot continues to question where her destiny lies.
Plaza is unquestionably a unique performer whose inherent idiosyncrasies immediately set the tone for what a film like “My Old Ass” is supposed to be. While many television stars have struggled in transitioning to film after years spent playing an iconic role, Plaza admirably used the clout from her popularity on “Parks and Recreation” to appear in charming indie comedies like “Safety Not Guaranteed,” “Life After Beth,” and “Ingrid Goes West.” Plaza’s appearance is distracting, and that’s exactly the point.
She introduces a tone of spontaneity and mayhem to a film that is relatively grounded. This works in showing that despite claiming to have wisdom on how the future ends up, the older version of Elliot has just as much growing to do as her past self. Perhaps the wisest observation that “My Old Ass” makes is that knowing something will happen isn’t necessarily the same as understanding or coping with it.
Plaza’s role in the film is actually fairly muted, as it’s Stella who is at the center of the majority of the story. Although there are a few fun scenes in which Elliot is forced to argue with herself over events that seemed more significant at a certain point in her life, “My Old Ass” doesn’t necessarily take advantage of the brilliance of its central conceit. Elliot is fairly insecure and starts a line of questioning in order to ascertain that this enigmatic stranger is actually who she claims to be. While the detail that Elliot is skeptical about confirming what her future will be is interesting, it does feel like the dynamic between Plaza and Stella is far less present when the film takes a shift toward the dramatic in its final chunk.
Park made an impressive debut with 2021’s “The Fallout,” a powerful teen drama that explored many of the anxieties that are unique to this generation of young people. “My Old Ass” certainly fits into this mold, as it manages to touch on Elliot’s complex relationship with her parents, her understanding of her own sexual identity, and her burgeoning awareness of her familial legacy. Many of the truisms that the film reaches are quite profound, particularly thanks to the performances by Maria Dizzia and Al Goulem as Elliot’s parents. That being said, it does often feel that “My Old Ass” forgets to have fun with its premise, as there isn’t always an instance of cheeky humor that reminds viewers how inherently silly the concept is.
“My Old Ass” does have an interesting way in which it shows Elliot’s hallucinations, as her initial encounter with her older self is triggered by a mushroom trip that goes very wrong. Although the concept itself feels derived from a more direct “hallucinatory” fever dream, the film quickly dispels the notion that Elliot is imagining things that aren’t there.
This perhaps embodies why “My Old Ass” feels so underdeveloped when it comes to the mechanics of the situation. The film actively hints at ideas that are more interesting than the ones that it chooses to focus on, and none of the experiences that Elliot goes through are unique enough to satisfy the consistent ignorance of sci-fi. There’s definitely merit in the fact that Elliot’s story is so universal, but the film could have benefitted from either a little more insight (like “The Fallout”) or a bit more whimsy (like “Back to the Future”).
Thankfully, “My Old Ass” avoids ever being too grating because of how digestible it is. At 90 minutes, few moments are wasted, as each supporting character is given at least one significant standout moment. Although there are instances in which the attempts at sentimentality border on being too saccharine, Stella is so effortlessly charismatic that it’s easy to overlook a few awkward moments. The significant difference between the performances by Stella and Plaza successfully set up the mystery of how a seemingly normal, happy teenager could become so embittered later in life.
“My Old Ass” is mostly charming, very sweet, and occasionally profound, but often feels like a rough draft for what could have been an instant classic. The commitment that Plaza and Stella bring to the material is enough to warrant a recommendation, but “My Old Ass” is ironically a film about finding oneself that feels like a moment of transitioning for its director.
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