Confess, Fletch

Confess Fletch is a breezily entertaining caper with a fun cast of characters and an engaging central mystery led by the ideal person to anchor this. It's a complete story that doesn't overtly sequel bait which is exactly why it deserves one should it ever come to fruition. Just watching Jon Hamm be endlessly charming, adorable and funny is enough to sustain all 98 minutes.

This is a lovely showcase for Jon Hamm's leading man talents. He's got the rare gift of being generically dashing whilst also having great comedic timing which is constantly employed for solid dry wit that never fails to get a chuckle. Even though it's his film, the supporting cast still gets plenty to work with, ensuring everyone is memorable and the film never forgets about them.

Gregg Mottola's direction makes up for what it lacks in visual flair with a general playfulness, especially in the deadpan delivery and the way title cards are dropped. The tone never waivers so it always remains lighthearted and the nice pacing ensures proceedings move at a steady pace. David Arnold's retro score is the ideal choice for the lighthearted tone and fits the throwback nature of the film.

Sadly, and surprisingly, mediocre film. All sorts of plot gaps, weak character development, thin plotting, etc. Seems like the folks in charge couldn't decide if they were aiming for a comedy, a thriller, or a mystery and instead ended up with none of the above.

The plotline is so muddled it's hard to know who was responsible for what.

My wife and I "enjoyed" it, because who doesn't like Jon Hamm, but we couldn't recommend it to anyone else. And even Hamm is largely wasted in this role, with his ironic/humorous sense of self completely lost in the mix. It could have been a wonderful movie, a tentpole for a franchise, but instead was just a waste. They end with a set-up for a sequel and we can only hope it's better.

I'm a huge fan of Fletch and also of Jon Hamm but this movie doesn't really work. The writers have made a grave error by making most of the supporting cast quirky weirdoes with funny dialogue but this is the wrong way round - the reason the first two movies worked is that FLETCH is that guy and most everyone else is the straight man.

Here, Fletch is just kind of sleepy as he goes from scene to scene (don't look for a plot, there isn't one) being upstaged by other characters - again, literally the opposite of what makes these movies work. Hamm does have comic timing but is just too damn handsome to believe. Re-casting the role is basically impossible but while I get that Hamm would probably have looked silly in the scruffy gear that Chase wore, he's nonetheless just too stylish.

I was interested to read that the third Fletch movie was at one time going to star Jason Lee and be directed by Kevin Smith - I'd imagine that would have been a far better - and funnier - take on the character.

I really enjoyed this. I've seen the first 2 movies and was prepared for a Chevy Chase replication, but not as good. Jon Hamm somehow managed to keep the character familiar but also completely make it his own. I'm not a huge fan of the original (seen them a couple of times and and liked them but have no strong emotions for them) so I had few expectations but it's clever, it's funny, it doesn't outstays it's welcome and it doesn't try too hard.

It's boardering on being forgettable but that's not a terrible thing. Not every film has to burn itself into your memory and this film does exactly what it should. It entertains for its life cycle.

Really enjoyable and easy to watch.

Freelance reporter Irwin "Fletch" Fletcher (Jon Hamm) is in Boston investigating stolen artwork for his friend Angela (Lorena Izzo) the daughter of an Italian count who's been kidnapped with the kidnappers demanding the artworks as ransom. Upon his arrival in Boston, Fletch discovers his townhouse rented on his behalf has been the site of a murder which detectives Monroe (Roy Wood Jr.) and Griz (Ayden Mayeri) are all too eager to believe Fletch is the perp despite him calling the police in the first place. Unphased by the possibility of taking the fall for a frame-up, Fletch travels around Boston interacting with various quirky characters and using his unconventional investigative skills to find the artwork and the true killer.

Confess, Fletch is an adaptation of the second in the Fletch series of books written by author Gregory Mcdonald that had previously been adapted with Chevy Chase with an adaptation of the first book in 1985's Fletch, and a wholly original story with Chase reprising his role in Fletch Lives in 1989. In the time since the release of Fletch Lives, there've been attempts at reinvigorating the comic mystery series with various creative teams and stars including Jason Lee, Zach Braff, and Jason Sudeikis, until eventually Mad Men star Jon Hamm landed the role with Superbad and Paul director Greg Mottola writing and directing with the two having previously collaborated on Keeping Up with the Joneses. The end resulted is a nicely entertaining piece of comic mystery fare that maintains the core appeal of the earlier incarnations while still putting its own spin on it.

Jon Hamm is really solid playing the titular Fletch and his laid back slightly sardonic attitude is captured by the pitch perfect timing of Hamm's performance and Greg Mottola's direction who keeps the gags and exchanges quick and rapid fire with the various quirky characters we meet established and utilized without letting them run rampant with line-o-rama or unstructured improvision. Actors such as Marcia Gay Harden, Kyle MacLachlan, and fellow Mad Men alum John Slattery show up to put their own stamp on these character and the exchanges are quite amusing particularly a running gag with Harden's countess where she keeps giving mixed signals as to her intentions when she invites herself to Fletch's borrowed townhouse.

Confess, Fletch is a welcome bit of light hearted escapism and the only downside is the fact that Paramount seems to not have any faith in this film dumping it as a day and date release before premiering it on Showtime later this October. In prior years this is the kind of smaller film that would've come out in late August or early September and been a modest adult skewing theatrical performer, but in this climate where theatrical audiences are more skewed towards "event" and "tentpole" releases meaning smaller films like this are relegated to streaming. Hopefully enough people discover the movie because it's a solid addition to the series. I'm not sure I like it as much as Fletch, but I definitely like it more than Fletch Lives.