Edward Burns never stopped making films, even after his “next Woody Allen” branding fell flat.
Burns’ 1995 drama “The Brothers McMullen” explored his Irish Catholic heritage in warm and witty ways. It felt fresh, even exciting, and the press dubbed him New York’s next indie auteur.
Except his bright Hollywood career eventually faded. Burns refused to quit, continuing to make movies on smaller budgets that spoke to his creative muse. In a way, he showed what storytellers can do when the Hollywood marketplace pivots to superhero films and undead IPs.
Keep. On. Shooting.
So it makes sense that his latest project recalls his breakout work. “The Family McMullen” is time well spent with old friends, even though said friends have flaws that never went away.
It’s much like the man pulling the strings.
Burns returns as Barry AKA Finbar, a 50-something Irish Catholic dad suddenly hosting not one but two of his grown children again. Also under the roof? Brother Patrick (Michael McGlone), who still holds tight to Catholic doctrine, unlike his wisecracking brother.
There’s chaos aplenty but also lots of love, and Barry is overjoyed to have his brood back together. And the lads could use some fatherly wisdom.
That’s assuming Barry has any to dole out.
Charismatic Tommy (Pico Alexander) wants to give acting a try, but before he can nail his first audition he falls for Karen (Juliana Canfield, “Succession”). They’re both aggressively single, but they can’t stop pawing at each other.
Life always gets in the way, right?
Patty (Halston Sage) is engaged, but her beau suggests they take a calculated break to date other people. Huh? It’s the kind of line only a guy could attempt, framing it as getting those wild oats sown before exchanging “I do’s.”
There’s more, too, including returning “McMullen” player Connie Britton as Molly McMullen, now a widow eager to stay in the clan’s good gracesfds. Plus, Karen’s mom (Tracee Ellis Ross) is Barry’s old flame, and those embers still have plenty of heat.
“I started as a writer, then a director, and became an actor by default. When the parts got less rewarding, I bowed out.”
Edward Burns talks to @djmecca about his independent filmmaking spirit, ‘The Family McMullen,’ his most underrated movies, and more: https://t.co/nCcZKghirb pic.twitter.com/XzX1mzlPnq
— The Film Stage (@TheFilmStage) December 4, 2025
Burns’ screenplay isn’t Allen-level funny – they never rose to that exalted level, even back in the ’90s. The dialogue is sharp enough to convey these flawed souls and their aspirations, and along the way, some life lessons peek through the maelstrom.
The romantic subplots line up perfectly, albeit too perfectly, to keep the story humming. Some twists feel organic, enhanced by the Irish Catholic culture in play. A little guilt goes a long way.
Other shifts feel too manufactured to steer us to the inevitable third-act confrontations. The fortunate reunions come at us at breakneck speed.
The standouts here are Alexander and Canfield, brimming with star appeal and undeniable chemistry. Nearly as good are Burns and McGlone, at least when it’s time to spar. Their brotherly banter feels like 1995 was yesterday, not 30 years ago.
Gulp.
Sequels serve as comfort food for the cinematic soul, the chance to revisit old friends and see what’s changed since the last time we met. Turns out we didn’t know we missed the McMullens, or Burns’ sly way with storytelling, as much as we did.
HiT or Miss: “The Family McMullen” proves there’s still a spot for understated family dramas shot on a shoestring budget. Phew.