Now that introductions and an initial conflict in the first season are out of the way it’s much more fun just to let the characters be themselves… while scattered across the timeline of 1960s Dallas, Texas.
Of course, there’s another apocalypse looming and a trio of time-hopping Swedish assassins to deal with, but really the show shines when it’s letting the family play off and support each other.
Feels a bit more loose and creative this time around, and the soundtrack is bangin’, the whole cast puts in great, hilarious, dysfunctional performances.
A case could be made for spreading the show out over weeks instead of dropping the Netflix binge model all at once, since something like this is fun to keep in conversation rather than to burn through and promptly forget about, but that’s a broader conversation on streaming strategies.
All up, better than the previous season even if the pacing is a little strange at times. If you liked the first one you’ll have a good time again here.
While at first blush the two might seem to be the same story, really only the broadest of strokes have been retained in the adaptation from Argentina to North America, and all the richness of character has been drained out for a by-the-numbers crime thriller with an overqualified cast.
EL SECRETO DE SUS OJOS (2009) won awards and acclaim as a mystery wherein the investigation into the murder of a young woman twenty-five years in the past stirs up old relationships when the investigator returns to town to try and write a book about his experience on the case. We slowly learn what went wrong, why he was forced to leave, and the life he was forced to leave behind — framed around an unconsummated romance with his superior and the deep vein of corruption running through the Argentinian legal system.
It’s very much sincere and charismatic and takes time to show how the incompleteness of the case has worn on everyone involved, that they have fallen into incomplete lives even now, two decades on, and you sincerely hope for them to find solace or closure.
There’s also an incredible single take chase shot that flies into a soccer stadium, sweeps around the crowd and then pursues the invesigators through the chaos after their mark. That shot alone is a technical marvel worth the price of admission.
Being a mystery, I’ll stay as light on the details as possible, but it’s deserving of the praise and Ricardo Darin is a treasure.
THE SECRET IN THEIR EYES (2015) takes the skeleton of the case and a passing glance at the romace framing the narrative and reshuffles everything else so that nothing fits together in the same way nor approaches anything like the engagement of the original.
The cast is excellent — indeed, this is dream casting for the story and I don’t doubt they were able to pull Chiwetel Ejiofor, Julia Roberts, Nicole Kidman and Alfred Molina in simply by screening the original for them. But that’s about as far as my compliments will go.
First and foremost: almost all of the actual detective work happens off screen. The bonding of the investigative team originally came from working out how each of their personas lent something of value to the case and they grew closer through it. In the 2015 version we’re shown a few brief flashbacks of people “being friends” and that’s meant to suffice. It doesn’t.
The politics in this version is a strange shoehorning of post-9/11 anti-Muslim fear involving a stakeout at a mosque that ultimately lends nothing to the story at hand. It can’t possibly have been twenty-five years worth of time between the two parts of the story, and very little effort was actually made to make either time period distinguishable or distinct from one another.
And that impressive chase shot I mentioned? It becomes a single drone shot coming into a baseball match and then as soon as the chase starts proper it just cuts like a normal chase. No single take. Why even bother adapting something if you’re not going to pay attention to the things that made the original unique?
I would highly recommend watching the Argentinian version, and then come back here to find out a little more on how the American remake fucked it up.
A Chinese-American family returns home to attend a cousin’s wedding, except the wedding is fake and the family are really gathering to say goodbye to their grandmother whom they haven’t told is dying.
Awkwafina should have received more than just the hushed critical attention she got for this — she really anchors the perspective of an outsider watching a familiar yet alien culture navigate a complex situation, and does so with gravity and a genuine, moving charisma.
Each of the family members offers some insight into the clash of culture between East and West, but seldom do we really get to see that conflict from the modern Chinese perspective and what their own misconceptions of Western culture are like, especially regarding something as universal as a death in the family.
Deserves all the praise. It’s a wonderful film, highly recommended.
I’m starting to think this Antonio Banderas guy might have a bright future ahead of him.
This only really lost attention last year because it was up against the fantastic PARASITE and PORTRAIT OF A LADY ON FIRE — it’s a warm, understated and craftsmanly slice of film with a mesmerising lead performance and a mellow, retrospective tone to it.
As much a meditation on a long life of storytelling as it is a story within a story of itself. Doesn’t have the dazzle of its rivals but isn’t aiming for that sort of thing, and is no less a beautiful film.
Feels like a drawn out BLACK MIRROR episode erring on this side of existential terror. It’s good, but didn’t delve into the scifi/identity crisis aspects as deeply as I’d have liked in any ways that haven’t been explored with more complexity elsewhere.
Still, worth a watch with potential for developments in seasons going forward.