'Confess, Fletch' makes its case as one of the funniest films in years

You might be unaware a film adaptation of Gregory McDonald’s classic crime comedy novel “Confess, Fletch” released in a handful of theaters this past Friday. None locally.

If you want to watch it in Columbia, you have to rent it for about $20. On October 28, it will be on Showtime. Does anyone subscribe to this channel? Another question to investigate.

Why this rehash of “Fletch” is being buried away from a willing audience is baffling. Minute-for-minute, it’s the funniest film I’ve seen in years. For a film critic to repeat jokes doesn’t do them much justice. But I can report laughing continually, with big laughs more often than not. But being funny is subjective and I ask you to trust me on that point.

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I can offer specifics on University of Missouri grad Jon Hamm, who has found a role almost as perfect for him as Don Draper. And that Hamm is surrounded by a supporting cast that is just as clever and funny. All the performers are given smart, layered things to say by a script that builds upon itself and presents no false notes.

You might have affection for Chevy Chase’s depiction in Michael Ritchie’s “Fletch” adaptations in the 1980s. Those movies were funny, but this version is better. No joke.

The plot is complicated without being convoluted. Fletch, a freelance investigate reporter who acts more like a detective, is tracking down some stolen art. The trail leads him to Boston, where he rents a high-end apartment. On the night he arrives, Fletch finds a dead body waiting for him. The police suspect he’s the murderer. Fletch suspects he is being set up.

But by who? Fletch meets unusual characters as he tries to solve his assignment and absolve himself. There’s the bumbling neighbor play by Annie Mumolo, best known as Barb from “Barb and Star Go to vista del mar.” There’s the germaphobe art collector played by Kyle MacLachlan. Everyone in Fletch’s orbit either provides a clue or is hiding a motive.

Murder. Missing artwork. Seems only last week I was noting most modern whodunits have a meta angle. Yet writer-director Greg Mottola and co-writer Zev Borow lean into classic elements of the crime caper without stuffing too much into the plot. Rather, the facts are presented as straightforward as possible as the conspiracy unravels at a deliberate pace.

Where speed plays a crucial part of “Confess, Fletch” is in the delivery. Mottola, who has helmed comedies like "Superbad” and “Adventureland,” knows the most critical direction you can give a comedic actor is to go faster. Don’t slow down for a laugh because it looks like pandering. If the audience misses a funny line, there will be another soon. This also suggests confidence in the material.

Hamm turns out to be perfect. For a long time, I was convinced he would never get out of the shadow of “Mad Men.” He may have finally done it, finding a character that is a smart aleck but has more brain than lip. His charm is best described in a back-and-forth with a detective played by “The Daily Show’s” Roy Wood Jr:

"You’re a shady character, Fletch.”

“But adorable,” Fletch shoots back. Agreed.

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Hamm is able to overcome his iconic role even as he shares screen time with fellow “Mad Men” alum John Slattery. A risky move that works because, again, there’s confidence in the material and we focus on the actor’s line delivery, not their resume.

If you think that Chase’s portrayal cannot be topped, all I can say is this approach is different. There’s no funny disguises. Hamm doesn’t try and top Chase’s mugging. If they have anything in common, it’s the combo of handsome and funny. A potent combination among stiff movie stars and dopey comedians.

My understanding is Mottola has made a film more in line with the books. (In fact, “Fletch Lives” wasn’t based on any of the books.) I understand the text moves swiftly and a lot of great comedic writers today cite McDonald’s work as inspiration.

Given how much I love “Confess, Fletch,” I should probably read those. This was such a fun movie to watch. That this could be a role Hamm returns to, but probably won’t get the chance, is tragic.

The mystery of why the film isn’t getting a bigger release comes down to Hollywood economics. Production costs are high and the desire to see profit margins increase means spectacular event films are the most desired product of the industry.

Comedy works in details. Details gets lost in spectacle. Comedy might be cheaper to produce, but you’ll never see a comedy make nine figures at the box office. Easier to throw such “content” onto a streaming service and hope the algorithm gets to the right audience.

But we are deprived of laughing with strangers in a darkened theater. Or of seeing a movie over and over again and picking up on more jokes. I can only rent a movie for $20 so many times.

A shame because “Confess, Fletch” is a riot and doesn’t insult your intelligence in the effort to make you laugh. A rare thing and I urge you to shell out the extra cash to see it.

In real life, James Owen is a lawyer and executive director of energy policy group Renew Missouri. He created/wrote for Filmsnobs.com from 2001-2007 before an extended stint as an on-air film critic for KY3, the NBC affiliate in Springfield. He was named a Top 20 Artist under the Age of 30 by The Kansas City Star when he was much younger than he is now. 

This article originally appeared on Columbia Daily Tribune: Missouri's Jon Hamm makes 'Confess, Fletch' a very funny movie