Monk, le retour

Some TV reboots -- or movie-length one-offs based on long-cancelled shows -- turn out to be major disappointments. Not so with "Mr. Monk's Last Case," in which the Defective Detective is called upon to investigate a horrifying accident involving his daughter's fiance. Once again, he drives everyone crazy with his obsessive/compulsive behavior -- the scene in which he pretends to be a bartender goes on for too long (which, frankly, the series' most memorable comedy bits often did, anyway) -- but watching him try to play master mixologist under the judgmental eye of a horde of customers was still laugh-out-loud funny. Balancing out the chuckles: Monk's suicidal tendencies, borne of the fact that he hasn't solved a murder in ten years (and hasn't even been asked to), the memoir he has written has elicited a polite but firm "No!" from his publisher, and he's beginning to feel not just unhappy, but useless. (Never has Shalhoub looked more hangdog, more emotionally drained; every crease on his aging face tells a sad tale all its own.) Most of the old gang is on hand to help him, the villain is as evil as any he's ever encountered, the ending is a tear-jerker, and if the Big Reveal -- that inevitable moment when he explains exactly how the crime was committed -- seems a bit predictable, so what? The movie is a fine addition to the Adrian Monk mythos, and -- even better -- it looks like this won't be his swan song, after all. Maybe he'll follow in Columbo's footsteps and keep coming back. We can only hope.

While one review here says that nostalgia is causing people to overrate this TV movie, I'm inclined to think that it's making people underrating it, because they're forgetting that, as funny and brilliant as the show could be, and as great as Tony Shalhoub was, the series always flawed and towards the end could be genuinely bad.

In the movie, Monk, an brilliant ex-detective with diagnostically fuzzy OCD is at the end of his always short rope. But when murder happens close to home (I really hate "this time it's personal" plot lines, but what can you do?) Monk comes out of retirement for what he's determined to be one last time.

As always, Monk unsteadily treads the line between character-driven comedy and cartoonish laughs. Monk sometimes responds as someone trapped in a world of obsessions, and sometimes just acts like a weird two-year-old having a freak-out.

In short, the movie, like the series is sometimes smart, and sometimes irretrievably dumb.

The mystery itself is decent though unexception - I figured it out way before Monk. The returning characters are decent although underutilized (except Randy, who is overutilized). The new characters are bland and add nothing, which is unfortunate.

Shalhoub, though, is still great, and his dry, anguished weirdness is still funny, even if it is the same shtick he's always done.

If you're expecting more than an overlong episode of the series then you'll be disappointed, but if you just want to see one more episode of Monk, this is worthwhile.

I soo wanted to like this movie. I was a huge fan of Mr. Monk, and I used to enjoy the show immensely. The fact that we can have a quirky hero with OCD was intriguing and I was rooting for another season.

But, if we can't have the show returning, a TV movie is great, right?

Well, it could have been, but this has got to be the most lazy writing ever done for a movie.

Mr. Monk isn't quirky, he's just awkward.

He's not allowed to be clever and use his intelligence, because the case is so clumsy presented, that we all know who done it and how immediately.

That means, the entire movie we're just waiting for Monk to catch up on what we already know, because no one made the effort of making an interesting case.

Great to see all the belowed characters again, but man - I'm rage-writing this review because it's probably the only time the cast gets back together, and then they get a script written by a 10 year old.

There are few detective shows as endearing and unique as 'Monk'. Airing from 2002 to 2009, the series followed Adrian Monk, a brilliant former homicide detective with a crippling case of obsessive-compulsive disorder and a catalogue of phobias that could fill a medical journal. What made 'Monk' more than just a clever procedural was its heart: whether solving a case or avoiding handshakes, Monk was never alone. He had help- from the tough, no-nonsense Sharona (and later, the ever-patient Natalie), the gruff but loyal Captain Stottlemeyer and the lovably offbeat Lieutenant Disher. Together, they turned crime-solving into something funny, touching and- despite the chaos- weirdly comforting.

It's been over a decade since Monk last straightened a crooked picture frame on primetime, but the character's final bow comes in 'Mr. Monk's Last Case: A Monk Movie'- a return that feels less like a reboot and more like a long-overdue reunion. After tragedy befalls his stepdaughter Molly, Monk is pulled out of retirement for one last case- one that tests not only his legendary instincts but also his fragile grip on the world around him. As Monk navigates a noisy and chaotic San Francisco, the film becomes less about solving a mystery and more about finding peace- with the past, with loss and with himself.

'Mr. Monk's Last Case: A Monk Movie' is a delight, both funny and sad, recapturing much of what made the show so great. Andy Breckman's screenplay deftly balances comedy and melancholy, giving us a mystery that's as much about emotional closure as it is about clues. The film knows exactly what it is: not a grand reinvention, but a heartfelt epilogue. It leans into nostalgia without being cloying, offering longtime fans the chance to say goodbye on Monk's own neurotic, bittersweet terms.

What's most striking about the film is its willingness to engage directly with Monk's trauma, particularly his suicidal ideation- something the show often danced around but rarely confronted so openly. Here, it's front and centre. The film doesn't sensationalize his pain, nor does it offer easy answers. Instead, it approaches Monk's mental health with compassion and gravity, while still allowing for the awkward humour that's always accompanied his struggle. It's a tricky tonal balancing act, but one that largely works.

Having said that, the central mystery- while serviceable- isn't particularly engaging. Unlike the show's best episodes, which often featured clever twists or satisfying reveals, the film's case feels more like a vehicle for character moments than a puzzle worth solving. It isn't a particularly tough case for Monk to crack, and longtime fans won't be stumped- and will certainly find themselves missing the tightly constructed cases of Monk's episodic heyday. The emotional stakes are high, but the investigative ones are not. In the end, it's less about how Monk solves the case and more about why it matters to him- and to us.

Visually, the film retains the clean, sun-dappled aesthetic of the original series, though there's a slightly more cinematic polish to the framing and lighting- just enough to feel like a movie, not a long episode. Jeff Beal's score reprises familiar themes with a gentle melancholy, while the inspired use of Randy Newman's 'I Think It's Going to Rain Today' adds emotional resonance, deepening the drama of proceedings.

At the heart of it all is Tony Shalhoub, delivering a performance that's as subtle and finely tuned as ever. He plays Monk not as a caricature of compulsions, but as a man worn down by grief and time, still trying to make sense of a world that overwhelms him. As there was in the show, there's a gentleness to Shalhoub's work- a quiet dignity that makes Monk's pain all the more affecting. It's a reminder of why the role won him so much acclaim in the first place.

Additionally, the returning supporting cast slip back into their roles with ease, each bringing the same lived-in familiarity that made the ensemble so beloved. Traylor Howard returns as Natalie with the same calm competence and warmth that always anchored Monk's more manic tendencies. Ted Levine remains a gruff delight as Captain Stottlemeyer, his no-nonsense exterior still concealing a deep well of affection for Monk.

Jason Gray-Stanford's Lieutenant Disher is as endearingly clueless as ever, though there's a quiet maturity beneath the goofiness that suggests he's grown over the years. Further, Hector Elizondo and Melora Hardin have a few beautifully realized moments as Monk's long-suffering therapist Dr. Bell and his late wife Trudy, respectfully, while James Purefoy does fine work as the villainous, Elon Muskesque billionaire Rick Eden; even if the role is something of a smug caricature. Although it's a shame Bitty Schram's Sharona doesn't make an appearance- and Austin Scott and Caitlin McGee's performances are quite flat- for the most part the cast cannot be faulted.

'Mr. Monk's Last Case: A Monk Movie' is a poignant send-off to a beloved character, brimming with the warmth and charm of the series. Anchored by Tony Shalhoub's brilliant performance, the film is both bittersweet and endearing. While the mystery may not be among the show's best, and a few supporting performances fall a little flat, the respect and affection everyone involved has for the titular detective shines through. For longtime fans, the film feels like a gentle exhale- a last hug, a final tapped lamp. And for Monk, that might just be enough.

I'm a die-hard Monk fan and eagerly awaited this movie. However, I was disappointed to see the depressive turn the writers took with Monk's character. As another reviewer wrote, I too would have loved to see Monk embracing how the world dealt with germs during the Covid-19 pandemic. Mr. Monk gleefully witnessing the world wearing masks, using sanitizers amd wipes would have been hilarious. It seemed as if the writers weren't aware of the subtle nuances that make Monk "Monk". All in all, It was an enjoyable hour and a half. I loved seeing the old crew back together but it definitely missed its mark.