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18.03.2016
A superb supporting turn by Julia Roberts is the most welcome revelation of this clever but workmanlike English-language remake. Long-buried truths are exhumed, and a foreign-language Oscar winner gets a clever but workmanlike Hollywood retooling, in “Secret in Their Eyes,” a time-shuffling tale of murder, corruption, paranoia and the many varieties of obsession.
A 2009 Spanish-Argentinean co-production directed by Juan Jose Campanella (credited as an exec producer on the remake), “The Secret in Their Eyes” made quite a splash internationally, sweeping Argentina’s top film prizes and nabbing the Oscar for best foreign-language film over the likes of Jacques Audiard’s “A Prophet” and Michael Haneke’s “The White Ribbon.” It’s no surprise that Academy voters went for Campanella’s “Secret,” a glossed-up pulp fiction that gestured often enough in the direction of seriousness — a twinkly rumination on art and memory here, a non-committal smattering of politics there — to be mistaken for the real thing. In Los Angeles circa 2015, former FBI investigator Ray Kasten (Ejiofor) returns to his old offices armed with possible evidence of the new identity and whereabouts of Marzin, the never-prosecuted suspect in the 2002 rape and murder of a teenage girl. Ray’s script fidgets restlessly between past and present, teaching the viewer to keep track of time through the insistent darkening and lightening of Ejiofor’s beard.
Despite all this skullduggery and compromise, Kasten believes, the truth will inevitably betray itself in a person’s guilty countenance — whether it’s in the pages of police mugshots that he spends hours poring over, or in the seemingly innocuous company-picnic photo that exposes a criminal in the making. It’s not the only way the detective blurs the boundaries between professional obligation and personal desire, to judge by the romantic attraction that continues to flicker between him and Sloan, even after a 13-year absence. As for “Secret in Their Eyes,” the movie manages to register its own identity in gradual, piecemeal fashion, even as it doesn’t deviate too dramatically from its predecessor’s narrative template. CrewDirected, written by Billy Ray, based on the film “The Secret in Their Eyes” written by Juan Jose Campanella, Eduardo Sacheri. Chiwetel Ejiofor, Nicole Kidman, Julia Roberts, Dean Norris, Michael Kelly, Joe Cole, Zoe Graham, Alfred Molina. The critics keep comparing the original film to the remake, even though most viewers have not seen the original film and don’t care a hoot about it. Chang – you produced a lot of gibberish when all you had to say was that the movie sucked big time. This film is so bleak and depressing and void of any hope or humanity, I wonder ho many suicides it will invoke? In this case, it doesn’t really hurt if you haven’t seen the Argentinian original film which won an Oscar for best foreign language category, it was a superior film by all accounts, but I don’t think this remake is all that bad. What’s most interesting is the dynamic between the three lead characters, there’s a bit of office flirting made complicated by ambitions and playing by the rules, and all the while, Jess seems less enthusiastic about Ray’s 13 year-investigation, either grief has taken a toll on her or she’s come to the point of acceptance.
She ScribesNew York Blogger, Influential Mom Blogger, PR Friendly and Brand Ambassador with a focus on Entertainment, Reviews, Giveaways, Parenting, Technology, Recipes, Pets, Health and Lifestyle. Secret in their Eyes is the story of good friends and co-workers, Ray (Ejiofor) and Jess (Roberts). Ray is convinced that an informant that is working with the investigators inside the mosque is the one who brutally murdered Carolyn. Ray, Jess and Claire try their best to find evidence to link their suspect to the murder, but he goes free. Filed Under: Entertainment, Movies About KimberlyKimberly Vetrano resides in the suburbs of New York City with her family, five cats, dog, a tank full of fish and snails. When carrying this attitude, betterment can be good because it becomes a personal conviction that can help your environment during an aftermath of a depressing situation .
As interesting as some of the tension is and the creative notion to avoid cliches is commendable, ultimate satisfaction within the given narrative falls short. Although Secret in Their Eyes may be in the running to make noise this awards season, I don’t see it capturing Best Picture gold.
A great cast and a great idea off of which to base a film might give one a leg up on the competition.
The only reason Secret in Their Eyes is able to hold one's attention for any amount of time is its jumping back and forth between 2002 and 2015. Julia Roberts, Chiwetel Ejiofor and Nicole Kidman star in Secret in Their Eyes, a thriller without thrills. From John and Yoko to Miley Cyrus, Annie Leibovitz to David LaChapelle, the cover of Rolling Stone has always been an art form in its own right. The narration starts off on an off-beat note with FBI investigator Ray Kasten (Chiwetel Ejiofor) returning to the District Attorney's office, after a hiatus of 13 years.
With his re-appearance, Ray opens old wounds as well as the unsolved murder case of Jess's daughter Carolyn Cobb (Zoe Graham). In Ray's version, the details of the central murder are somewhat changed from the original film, but it still is as engrossing as the original, mainly due to the powerful story and performances of the ace star cast.
Ejifor as Ray Kasten, explores every psychological shade of a moral man who is hot- headed and a devoted friend, torn between the women in his life and the unsolved case. While the performances keep you hooked, it is the snappy edits along with the screenplay criss-crossing between the past to the present that makes the viewing confusing at times. This English-lingo remake, while similarly superficial, at least has fewer pretensions and more honest grit, even if its relentless hopscotching back and forth in time initially feels busier than the hard-nosed detectives and attorneys introduced in the opening stretch.
The body, as we see in the ensuing flashbacks, was found in a dumpster behind a mosque, and so the investigation fell to Kasten and his tough-talking partner, Jess Cobb (Julia Roberts), both part of a special task force cracking down on terrorism in the days following the Sept.


In 2015, Kasten and his trusty old colleague Bumpy (Dean Norris) attempt to ensnare the man they think is Marzin — against the better judgment of district attorney Claire Sloan (Kidman), who, for Cobb’s sake, can’t bear to see the perpetrator slip through their fingers yet again. Of course, operating on that sort of pure, anti-establishment instinct can lead even a skilled detective to bend the law to his or her advantage, especially when it concerns the death of a police officer’s child (another reason why the revision of Roberts’ role works so well).
The dark, fascinating thriller is about a woman’s worst nightmare and how it impacts several lives that are entwined with each other.
It has everything you hope for in a mystery thriller with twists and turns and revelations around every corner. The body of a young woman was found in a dumpster near a mosque that the team has been watching closely for some time (they suspect terrorist activity). Ray is still hell bent on finding the man who he believe killed Caroline and finding evidence to finally put him away where he belongs. I think the filmmakers could have done just a good job telling the story with a shorter film. The featurette Adapting the Story for Today’s World was also an interesting inside look into the challenges faced by the film makers.
A disaster like that brings a rattled world together with a resolve to press forward through strength and perseverance.
While there are multiple similarities between both movies like its cinematic use of the flashback structure, there are multiple differences in this current version in order for it to stand on its own. Some stimulating situations are set up, but don’t go anywhere and certain plot points that are meant to invoke shock value lose its surprising energy due to verbally describing a scene before visually showing it. At the very least, however, it will bring forth conversations about something we can all relate to: Moving on from a thought-provoking past that haunts us while an uncertain future awaits.
The 2002 bit holds little interest because with the 2015 section taking place we have the broad strokes of how the earlier era ends. Very quickly however, it becomes apparent that the movie is a one trick pony, that the jumping is all it has going for it and, consequently, that turns it into the movie's single biggest flaw.
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It interweaves the personal lives of a team of state prosecutors with a manhunt spanning 13 years.
He reconnects with his ex-colleagues which includes investigator Jess Cobb (Julia Roberts) and their supervisor Claire (Nicole Kidman).
While the tale persistently nudges the audience towards a predictable finale, it is the unusual and bizarre disclosure at the very end, that elevates this film from a simple realistic one to an exciting thriller that makes way for debates.
The novel was previously adapted into a Spanish film and it won the Oscar for the Best Foreign Language Film at the 82nd Academy Awards.
The real chemistry and the essence of the relationship between the characters along with their mood and time, is lost in the pacing of the story.
This second major release from STX Entertainment (after the recent sleeper hit “The Gift”) should parlay its cast names, including Nicole Kidman and Chiwetel Ejiofor, into solid year-end counterprogramming. Back in 2002, we learn, Marzin (Joe Cole) was an undercover informant who had infiltrated a terrorist cell possibly connected to the mosque — an “in” that made him virtually untouchable where the Bureau was concerned. Even with that excuse, Kasten abuses the system to a borderline-ridiculous degree, at various points seizing evidence without a warrant and planning a (successful) stakeout based on the barest of hunches. The film was criticised for dwelling too much on Julia Roberts character’s trauma instead of the investigation angle. Can imagine the mayor plot twist here is Kidman and Roberts were paid .00000000000000000000000% less than their male counterparts. This case then gets caught between bureaucracies, anti-terrorism priorities, and a certain guilt that ends up haunting Ray for the next 13 years until he finally tracks down the man who should have been arrested for Carolyn’s death.
You can easily tell that his character, Ray, was still harboring a lot of anguish over the death of Jess’s daughter.
That same notion also extends individually from person to person and when a devastating catastrophe happens to you or someone close to you, your goal is to not just be ingrained for the betterment of yourself, but for others as well. In this adaptation, there’s no shame in creating an American tale out of its foreign origins. Regardless of that, the story does leave you wanting more — which is what a great movie should do, but here, its narrative almost seems incomplete.
As the film won't give us the necessary details however, we are not engrossed in the 2015 story which requires only the bits being withheld as we watch the 2002 portion. Also, it is never clear whether Ray is pointing out the dangers of an unchecked terror or affirming the need for closure at any cost. The computer generated shots during the man-hunt which includes those at the racecourse and a baseball stadium, seamlessly merge with the flow to give a holistic picture. It’s by far the weakest dramatic and thematic link in a story that’s ostensibly about the prison of desire — how we are all slaves, in the end, to the unique feelings, drives and obsessions that make us who we are.


Looking weary and downright haggard at times (especially next to the pale and perfectly coiffed Kidman, who, it must be said, seems to age the least of the three principals), Roberts brings an acrid sense of bitterness and sorrow to this exceedingly sharp-witted sleuth, registering the cruel passage of time and the toll of unspeakable tragedy in every careworn feature and vocal quaver. Executive producers, Stuart Ford, Deborah Zipser, Russell Levine, Lee Jea Woo, Robert Simonds, Matt Berenson, Jeremiah Samuels, Juan Jose Campanella. I also loved the sweet, subtle, simmering undercurrents between Chiwetel and Nichole’s characters. Nicole Kidman exudes beauty and authority, she balances the two like it’s nobody else’s business, Julia Roberts is the most phenomenal of the three, playing a grieving mother, her performance is so genuine, you can feel her excruciating loss, Roberts looks and sounds like a person whose world had crashed and burned all around her.
To find out you need to pick up a copy of The Secret in their Eyes, available today where ever movies are sold.
The new film is based on the Academy Award-winning El Secreto de Sus Ojos and stars Chiwetel Ejiofor, Nicole Kidman, Julia Roberts, Dean Norris, Alfred Molina, and more.
Everyone in the audience knows we won't get those answers until just before the credits roll so we all just sit and wait with ever mounting frustration. Roberts in a deglamourised role, with her fringed and unkempt hair-cut as a distraught mother and an unassuming colleague is hauntingly intense.
Such refreshing stuff from the flash-in the-pan sexual escapades that Hollywood is notorious for.
The film also smartly plays the politics of it all in terms of what happens when fear-mongering and thirst for power drive an agenda thus pushing murder to the side. Writer-director Billy Ray (“Breach,” “State of Play” and “The Hunger Games”) explores this temperament in his new film Secret in Their Eyes, which is a remake of an Argentine film of the same name that won Best Foreign Language Film at the Oscars in 2010.
His job transforms into a mission when he finds out that the daughter of his colleague and dear friend, Jess, solidly played by Julia Roberts (“August: Osage County”) is viciously raped and murdered. Plus, you don’t have to be a baseball fan to know that was one of the moments in the movie where the filmmakers absolutely knock it out of the park (and yes, it’s better than the original scene). It is supposed to be a taut, suspenseful thriller that examines the horror of having a loved one murdered.
Instead of those 2002 details we as an audience crave, in 2015 we get attempts at cute little hints about what is going to take place in 2002. Losing a child the way Roberts character experienced in the film is a horrendous nightmare. You’ll end up getting as frustrated as Ray, but once the revelation hits you, you’ll find yourself conflicted between justice and revenge. All three actors provide strong performances that carry the film with various fluctuations of dense intensity and decent subtlety, but I don’t think the actors will receive any award-winning accolades.
Yet, it’s no rumor that the original film is more modest dramatically, while this version is more boisterous with its confrontational intensity (because that’s how we roll in the red, white and blue). Instead, it is an atmospheric but murky bore, one punctuated by good ideas that are undercut by a script that can't get out of its own way. His last screenplay was based on the true oceanic suspense thriller “Captain Phillips,” which earned him a Best Adapted Screenplay nomination in 2013.
It’s not due to their performances, but uneven story arcs that keep certain characters from a memorable excellence.
While the relationship has the potential to be interesting—and certainly affects the case—it is a side attraction. Although, if I were forced to place a bet, my money would be on Roberts because she plays an intriguing character who becomes disturbed and disheveled after the murder of her daughter. The main event is murder investigation and we already know that the suspect doesn't go to jail for it. The body turns out to be that of Caroline Cobb, the daughter of Jess (Roberts), a member of the task force. Another task force member and an FBI agent, Ray (Ejiofor), takes on the case even though he's been told not to. Not only that, but the Ray we get in 2002, the one who refuses to proceed about the investigation correctly, who refuses to listen to his superiors, who refuses to follow any sort of protocol, is incredibly cliched.
Not content to simply give the 2002 story, the film constantly cuts back to 2015 where we find out that something happened to the suspected killer, Marzin (Joe Cole), but not what. It doesn't get better either that he winds up quitting over the case, and that the case continues to haunt him. We know that Jess, essentially, stopped living when her daughter died and that Ray quit the task force and went to work for the Mets. But, don't ask where Marzin went to in 2002; that quickly becomes the only reason for the earlier portion of the story to exist.




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