Chicago Sun-Times by Richard Roeper

This 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.

Paste Magazine by Andrew Crump

Slattery 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.

RogerEbert.com by Brian Tallerico

It’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.

The Hollywood Reporter by Sheri Linden

It’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.”

Slant Magazine

The story’s center isn’t strong enough for the rest of its disparate parts to hold.

IndieWire

The “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.

The Daily Beast by Nick 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.

The New York Times by Jeannette Catsoulis

Top-heavy with big names (Tina Fey, Jon Hamm) and set in a nondescript small town populated primarily by sad sacks and losers, the movie struggles to get out of second gear.

Collider

It feels stuck in a strange, bland limbo, unsure of what it wants to lean into and truly be. For a movie all about identities, this film lacks one.

The Playlist by Marshall Shaffer

Hamm can be a stealth comedic force in any project, adding a slight escalation or modulation of the energy level to alter the stakes. He has a unique talent for somehow fusing the comic man and straight man personas into one. Yet Maggie Moore(s) gives him no chance to play either because Slattery cannot decide if his “Mad Men” co-star is the lead of a romantic drama or a heist flick.