Roy Wood Jr and Jon Hamm in Confess, Fletch - Greg Mottola (2022)
Blackram Hall: whodunit, murder mystery, hardboiled, pulp, crime, thriller, italian giallo, noir and neo-noir, detectives and serial killers, spy stories, vintage, manor houses, art, life and death.
bidding farewell to Trevor Noah Host of the DailyShow, love all the funny bits I can’t believe I have been watching news headlines for entertainment but he made them so witty and funny.
can’t wait for the stand ups he’d be doing more after this and good luck on all his future plans
also the farewell’s from all the correspondents are so funny XD with the touch of their customized roasting sessions
Fletch as portrayed by Jon Hamm truly is the perfect sleazebag. Barely competent, always a dick, and yet somehow always able to stumble his way half a step ahead, his eye is always on who is footing the bill. But at least his Italian is impeccable. While keeping one foot in the contemporary era through a recurring bit about Uber star reviews and the occasional piece of shoehorned catch-phrasing which stands in as lazy pseudo-wokeness by the screenwriters, this felt like a bid to return to the screwball comedies of the Golden Era of Hollywood. Comebacks and one-liners tossed off like they’re pocket change find a perfect vessel in Hamm, who is just the right amount of odd man out for each particular occasion. He can stumble his way around a yacht club party, but when it comes time to actually apprehend a killer, he drops his gun in the water. Purely ineffectual. He views himself as a winner, but never fully emerges the victor. Does he get the girl? No, he has to escape the family feud. Does he come off with the life of luxury he could claim? Nah, most of the paintings are given away and he’s in the midst of being coaxed back into the field by his former boss. But truly, does any former investigative reporter ever really retire? Only kind of. If it’s a slow news day.
Bless Kyle MacLachlan in his current phase of film acting. In an odd way, he’s a microcosm of how Hollywood are adapting to the pandemic on a narrative level. It’s impossible to deny that COVID-19 is a thing unless you’re an idiot of some stripe, and how that is manifesting in our films comes in many forms. Glass Onion explicitly begins in a world of face masks and self-isolation, but devises a magic bullet cure to write it all away, for comedy purposes. Three Thousand Years of Longing weaves it into the tapestry, face masks as part of a crowd or something a character might wear in certain circumstances without comment. Fletch makes reference to the concerns over pathogens and then renders it comedic, Horan dancing to EDM and exorcising his space with UV antimicrobial wands. I wonder where we’ll be in five years’ time.
Roy Wood Jr, Ayden Mayeri and Jon Hamm in Confess, Fletch -
Greg Mottola (2022)
Blackram Hall: whodunit, murder mystery, hardboiled, pulp, crime, thriller, italian giallo, noir and neo-noir, detectives and serial killers, spy stories, vintage, manor houses, art, life and death.