A young woman goes on a road trip to meet her new(ish) boyfriend’s parents. And… uh… that does happen… but also…
It’s a more successful synthesis of dream logic than anything of recent memory — trippy, unsettling and weird, but just grounded enough to keep you curious and engaged while simultaneously being alienated and slightly uncomfortable.
So much hinges on great anchoring performances from Jessie Buckley and Jesse Plemons, and any show that Charlie Kaufman wants to put on is worth admission just to see what he’s up to this time around.
This is the movie that Aronofsky’s ‘mother!’ wishes it was, and only a fraction as heavyhanded and self-important.
Do not watch any trailers. Go along for the roadtrip if you don’t mind getting no easy answers.
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.
An elegant, intricate knot. The sort of story that screenwriters all wish they were clever enough to pull off this effectively.
It’s just the right length, brilliantly self-contained and full of endearing characters and so much mystery that you’ll be going right back to the start to figure out where that thread you lost went.
Yes, it’s complex and can be labyrinthine and hard to follow at times, but the creators have done an incredibly impressive job of leaving breadcrumbs in everything from casting to production design. Seriously, the casting of actors as older/younger counterparts of themselves is frequently astounding.
And the plot. Ooooooooh the plot. Young boys start going missing around a small German town, thirty-three years to the day after a similar rash of disappearances happened and we see the effects of this ripple through a small community being affected for a second time in a generation. But what is actually going on is truly best left to be discovered yourself.
While the third season threatened to keel over with another burst of complexity, ultimately I felt it stuck the landing and was genuinely disappointed when we reached the end to find there was none left to be revealed, when the knot showed how thoughtfully it had been tied right from the start.
Haunting, moody and engaging. Truly, one of the great modern mystery/sci-fi shows. Highly recommended.
Much more subdued than what you might expect from a Lonely Island movie but still light, easy and fun all the same.
Effortlessly charismatic performances from both Andy Samberg and Cristin Milioti and the always welcome JK Simmons wildcard.
Could have maybe gone a little bigger on its premise, but it’s also really charming while keeping its humour away from the sort of rambling aimless improv you’d get from, say, an Apatow version of this.
Good for a lazy day if you want to feel colour and sunshine pouring out of your TV.
What a ride. Brutal, bleak and uncompromising in its determination to make you feel every twist of the knife and to question your part in how far Eillie is willing to go for revenge.
It’s significantly longer than I was expecting, which at first I thought was a fault, but the back half actually contains and surpasses much of the emotion and spectacle of the first, and of the original game, and I found its bolder choices always backed up its thesis statement that violence begets violence.
This is an unpleasant lesson, of course, and Naughty Dog’s stubborn refusal to sway from making you truly feel that these are almost exclusively terrible people while investing significant time and effort into making you empathise with them is a large part of what will make this game stand out long after the naysayers have gotten over the fact that this is not a fanservice sequel but rather a direct continuation of the consequence of the choices that very flawed people made in the first game.
Yes, it is at times tropey. Yes, it is at time quite ham-fisted in what it is trying to convey. Yes, it seems like it could have ended cleanly in more than a few places. But ultimately it’s unafraid to shy from the sort of harshness that makes something like The Road both miserable and incredible at once, and that lingers long after the credits.
It is staggeringly well crafted, beautiful and horrifying to look at, emotionally draining and tense throughout.
Ignore the hate, make up your own damn mind. There’s an incredible, one-of-a-kind journey into darkness to be found here.
I’m not gonna spend time drawing anything for this one. It sucks.
Dan Stevens and Rachel McAdams’ charisma are entirely wasted on two hours of unwritten jokes and Will Ferrell improvising badly between occasional bright moments of Eurovision ridiculousness that are neither a love letter to the song contest nor anything approaching a satire.
There’s a good pretense for a film here but this execution is fucking atrocious. Comedy is an extremely generous classification.
You might feel inclined to dismiss this for its proximity to the aggressively mediocre SUICIDE SQUAD film, or that on the surface it looks wannabe-DEADPOOL edgy — it’s really anything but!
Think of it as Adult Swim-toned Elseworlds DC universe satire wrapped around a sort of romantic comedy and garnished with all the obscenities and gory violence they can cram in. I’m talking people decaptiated by an ice-skating routine and an alcoholic Commissioner Gordon obsessed with trying to make an emotionally distant Batman his bestie.
Thanks to sharp writing, tonnes of heart, a stellar voice cast and some of the funniest characterisations in the DC canon this one’s way better than expected.
Two seasons, fingers crossed for a third and beyond cos this is a gem.
A nice, simple little scifi thriller with the look and feel of an early Cold War-set episode of STRANGE TALES or THE TWILIGHT ZONE.
Does a great deal with very little, and has some really creative camera work that beautifully describes the distances around a small town somewhere in 1950s America.
Some incredibly long and seamless shots and two extremely charismatic lead performances, but to say anything of the plot would be to ruin the tone and the expectation it so wonderfully builds with steady, thoughtful pace. Could have perhaps gone a little further with some of its more creative reaches to really elevate itself it greatness, but I’m not going to hold that against it since restraint stops it tipping over into gimmicky and helps it feel authentic.