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?


Written and directed by Billy Ray (Captain Phillips, The Hunger Games, Shattered Glass), it stars Chiwetel Ejiofor, Nicole Kidman, and Julia Roberts.
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. Star cast includes Chiwetel Ejiofor, Nicole Kidman, Julia Roberts, Dean Norris, Alfred Molina, Joe Cole, Michael Kelly, Zoe Graham. Mark Johnson (Rain Man, Breaking Bad) and IM Global president of production Matt Jackson are producing, with Campanella exec producing along with IM Global’s Stuart Ford, John Ufland and Jeremiah Samuels.
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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. Allowed to go free, the murderer then disappears, leading to a 13 year long quest to bring him to justice. How do these individuals bamboozle these mega funds so much that they actually provide them with capital .
Why don’t producers simply dub films rather than redoing them with much inferior results?
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.
Such refreshing stuff from the flash-in the-pan sexual escapades that Hollywood is notorious for. Losing a child the way Roberts character experienced in the film is a horrendous nightmare.



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