‘Maggie Moore(s)’ Review: Jon Hamm and Tina Fey Will Make You Wish This Dark Crime Comedy Were a Rom-Com

Jon Hamm never fail to prove that not only he is an masterful Dramatic actor, but also has a natural comedic talent. We all can never forget his Iconic role as Don Draper in “Mad Men” and despite this type of role the 52 year old truly makes a bold statement in the comedic ventures like ” Unbreakable Kimmy Schmidt, ” “Curb your Enthusiasm,” and the most underrated “Confess, Fletch” from last year. In “Maggie Moore(s),” he finds himself in a sweet spot between comedy and drama as a small-town police chief investigating the puzzling murders of two women who share the same name. However, John Slattery, his “Mad Men” co-star and the director of the film, struggles to deliver a satisfying conclusion to this intriguing premise.

One of the film’s setbacks is its failure to truly maintain a sense of mystery. Right from the start, with a title card revealing that “some of this actually happened,” the audience quickly learns the identity of at least one of the deceased Maggie Moores. It turns out to be her husband Jay, played by the talented Micah Stock, who foolishly hires a dubious associate (Happy Anderson) to scare her after she uncovers his shady business dealings and expresses her intention to leave him. Unfortunately, things take a tragic turn, and she meets a fiery demise inside her car. Jordan (Hamm) and his fellow officer (Nick Mohammed of “Ted Lasso”) are tasked with investigating what the audience already knows.

Enter Tina Fey, who injects her trademark breezy charm into the film as Rita, the next-door neighbor of the first murdered Maggie. Recently divorced, she welcomes Jordan into her home for a meal instead of answering his questions at the doorstep. Fey’s performance doesn’t deviate much from her previous work, but it remains thoroughly enjoyable. However, it’s puzzling that her character is absent for significant stretches of the film, considering Fey’s star power and the decision to cast her as the co-lead.

In the absence of Hamm and Fey, Stock anchors the film with his portrayal of Jay, a pitiful and out-of-his-depth husband who unwittingly sets the events leading to his wife’s demise in motion. Helpless and inept at handling the repercussions of his actions, Jay becomes a central figure in the story. While his character attempts to channel the essence of William H. Macy in “Fargo,” here he is the owner of a submarine-sandwich franchise struggling financially, resulting in him stocking expired ingredients. Rather than evoking sympathy, Jay comes across as more despicable than pitiful, showing no genuine remorse for his wife’s murder and only concerned with covering his tracks.

“Maggie Moore(s)” grapples with its genre, often struggling to strike a consistent tone. The transition from one scene to another feels like shifting from a lighthearted romantic comedy to a crime drama reminiscent of the Coen brothers, but lacking their finesse in seamlessly blending dark humor with grave seriousness. As the film delves deeper into its investigation, adopting a more somber atmosphere, one can’t help but long for a lighter touch and a greater emphasis on the dynamic between Hamm and Fey. It mainly Feels like Watching two different movies, with one being far more engaging and entertaining than the other. Every moment without the charming presence of Hamm and Fey becomes a countdown until they grace the screen once again.

Having previously directed the melancholic drama “God’s Pocket,” which featured a posthumous performance by Philip Seymour Hoffman, Slattery demonstrates his ability to work effectively with actors. Hamm and Fey, who previously displayed remarkable chemistry on “30 Rock,” deliver standout performances in this film as well. However, both actors feel somewhat constrained, unable to fully unleash their talents. The end result is a dark crime comedy that, much like the bumbling characters at its core, often feels lacking and falls short of its potential.

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