The ‘pond’ referred to would be the Atlantic Ocean, as the two films today come from the USA and Great Britain respectively. One is a funny detective movie that resurrects a well-loved bumbler, and the other is a biopic of one of the ‘war poets’ of England, dating back to the 1920s.

Confess, Fletch (on demand, Amazon Prime) - The first Fletch movie starred Chevy Chase, and it celebrated the character created by Crime Fiction novelist Gregory McDonald. A bumbling, well-intentioned sleuth, the Chase Fletch was also known for the broad physical comedy attached to the character. The new reboot stars Jon Hamm, and it’s actually closer to the novel’s original Fletch. And what Hamm lacks in outrageous physical comedy, he compensates with the arch facial expressions, ready quip and rejoinder, and being both annoying and charming at the same time. It’s a great opportunity for Hamm to showcase the comedic talent and timing that he’s hinted at in several of his recent film outings. Here, it’s on full display and it truly works!

The case has to do with missing paintings by Masters that the daughter of an Italian Count has Fletch try to recover. One of the paintings is a Picasso, and it seems the Count has been kidnapped, and rather than ask for money, the kidnappers insist on the Picasso as the ransom. So running against time, Fletch has to find out who has the painting, secure its return, then arrange for the handover to get the Count back. Altogether too many balls to juggle in the air for a private detective like Fletch to consider, but what he lacks in detecting skills, he more than compensates with confidence and a belief in self. You’ll love the fast-paced dialogue, the encounters with the Boston police, and the colorful neighbors and love interests that are strewn Fletch’s way. Disarming, and better than I expected. 

Benediction (Video on Demand) - If one could call a film stately and elegant, I would use those very words to describe this new film from Director Terence Davies. Known as well as an author, and stage Director, the subject of his film would be the life of Siegfried Sassoon, one of the War poets who emerged after World War I. Decorated for gallantry during his time in the front, Sassoon created a furor for composing poems that depicted the horrors and folly of war. He would rail about the injustice of heads of state and politicians sending the youth of their countries off to die for reasons that had more to do with amassing power and wealth than addressing social injustice. Military heads shunted him off to Scotland to convalesce, as PTSD wasn’t in vogue at the time, and it was seen as the most effective way to quiet him down. 

Jack Lowden portrays Sassoon, and it’s one of his more impressive turns on screen. Sassoon was also a celebrated gay figure who fought against the injustice of the system and of society, that would have him live in the shadows. In his late years, Sassoon turned to Catholicism as a way to add meaning to his life, and that conversion (with Peter Capaldi taking on the Sassoon role) is depicted here. What’s most impressive is Davies’ handling of the material and of Sassoon’s life. He picks it up from Sassoon’s war experiences and the poems he writes and make a name with. As with Davies’ other films, we’ll note the almost symphonic construction of the film and the very measured pacing - its truly like listening to a classical piece of music. It may not be for everyone, but if you’re in the right mood, this is a little jewel of a film.