A small-town, widowed police chief (Jon Hamm) investigates the murders of two women with the same name, uncovering a strange conspiracy involving a corrupt sandwich shop chain owner (Micah Stock) and his efforts to steal from the corporation that employs him. Details get stranger as things progress and numerous quirky lowlifes and inept criminals litter the reality-inspired story as if they were killing time before being called for a Coen Brothers caper. The silver lining comes in the form of a believably blooming romance between Hamm and Stock’s neighbor (Tina Fey), a divorcee who gets involved in the investigation and tries to help Hamm move on from the loss in his life.
Maggie Moore(s) is a darkly comedic and idiosyncratic crime thriller that we’ve all seen before in numerous incarnations. The Coens, Lynch, John Dahl, The Nelms Brothers, and countless other modern noir filmmakers all spring to mind as influences while watching it. While its material and presentation aren’t exactly fresh, it’s still well-written, well-made, and well-acted enough to be an entertaining and involving film that features relatable and shaded characters. The film is not breaking any new ground, but it also has no pretense that it is trying to. It proudly and assuredly walks a well-worn and trusted path that leads to a familiar yet still worthwhile destination.
Hamm is endlessly captivating and affable in the role of his grieving, big-hearted, and somewhat neurotic character. He is naturalistically understated and focused and exudes believable skill and intelligence during scenes where he is conducting his investigation. He is sympathetic, vulnerable, and charming in the scenes he shares with Fey, clearly communicating his character’s pained reticence to start a new relationship while simultaneously making his deep attraction to her entirely clear.
Fey is equally believable in her well-written role. Unlike similar roles in similar films, her character is layered and has her own needs outside of servicing the central male character. She exhibits a likable and imperfectly human quality that is believably complex. The scenes between Fey and Hamm are the most natural, interesting, and engrossing parts of the film. They exist and unravel in an entirely organic and lifelike manner that is slightly at odds with the somewhat formulaic and derivative nature that dominates large portions of the film.
Maggie Moore(s) was directed by John Slattery, an excellent actor who is probably best known for his role in the AMC series, Mad Men. Like many actor/directors, he favors a subtle filmmaking style that never draws attention to itself and allows for the performances and writing to be at the forefront of the viewer’s focus. While the execution isn’t exactly inspired, Slattery’s ego-less, maturely sturdy, and objectively observational approach makes it quite clear that the proper portrayal, handling, and development of the characters was his priority while making the film. The film stands out as a rich character study largely because it lacks the ambition for attention-calling filmmaking.
Crime thrillers that ride the line between comedy and drama are plentiful in number. When such films try to succeed with their cleverness and quirkiness alone, they tend to feel forced, obnoxious, and tiringly familiar. When they are like Maggie Moore(s) and center on believable characters who are portrayed by skilled and charismatic actors, they prove there is still some life left in them waiting to be discovered, appreciated, and enjoyed.
GRADE: B
