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Leave your thoughts about Maggie Moore(s).
| Chicago Sun-TimesRichard RoeperThis is an uneven film with a couple of glaring inconsistencies, but director Slattery has a fine sense of framing and pacing, and the top-notch cast handles the clever dialogue with aplomb. |
| Original-CinKim HughesMaggie Moore(s) sun-baked backdrop — it was shot in and around Albuquerque — imbues the crime drama with a contrarian vibe that might be called Coen-esque though with much less umph than No Country for Old Men. It’s an enjoyable watch to be sure, but not destined to be memorable. |
| Paste MagazineAndrew CrumpSlattery and Bernbaum’s adherence to genre standards may hold Maggie Moore(s) back from doing anything new in its space, but not from doing anything worthwhile. There’s nothing wrong with a messy low-level crime movie done right. |
| The New YorkerAnthony LaneSo heavily does the movie strain for offbeat detail—a killer who watches cartoons at full blast; Jay equipped with a neck brace and a leaf blower—that it refreshes one’s respect for Wes Anderson, whose eye for oddities remains clear and bright. |
| Movie NationRoger MooreYou’re kind of left with the nagging feeling that this could work or could have worked with a more deft touch at the wordprocessor or sitting behind the camera on set. |
| The Daily BeastNick Schager[Hamm’s] charm—and a reunion with his 30 Rock co-star Tina Fey—can’t salvage a middling caper that’s critically low on comedic or criminal verve. |
| IndieWireSamantha BergesonThe “aw shucks” small town vibe of it all, complete with Hamm being seen as the most eligible bachelor around, eventually codes Maggie Moore(s) as more of a rom-com than a murder mystery. But weighed down with a cliched script and tired acting, the film doesn’t fully land either genre seamlessly. |
| Slant MagazineSeth KatzThe story’s center isn’t strong enough for the rest of its disparate parts to hold. |
| The Hollywood ReporterSheri LindenIt’s Hamm’s emotionally wounded small-town top cop who gives the film its engine, especially in his dealings with Mohammed and Fey’s characters. The schemes and cover-ups and collateral damage spin round with little dimension, or, as Police Chief Sanders sums it up, “Just a bunch of people that deserve each other.” |
| RogerEbert.comBrian TallericoIt’s a film with select moments, largely because of the screen chemistry of its leads, but it never coheres into anything consistent. And then the film, which was shot in late 2021, rushes to an ending that feels like the product of messy post-production. |
