Secret in Their Eyes: Mini-review


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Nicole Kidman

Nicole Kidman adds her considerable star power to Secret in Their Eyes

C+The phrase, “It loses something in the translation,” seems to apply with distressing frequency to American remakes of acclaimed foreign films. The latest example of this phenomenon is Secret in Their Eyes, a remake of the highly acclaimed 2009 Best Foreign Film Oscar winner from Argentina. Despite the presence of high-octane stars Nicole Kidman and Julia Roberts, as well as Chiwetel Ejiofor, in the cast, the new film never rises above the level of a routine thriller.

Secret in Their Eyes follows two investigations into the same crime occurring 13 years apart. In 2002, the teenage daughter of FBI agent Jess Cobb (Roberts) is brutally raped and murdered. Fellow FBI agent Ray Karsten (Ejiofor) soon arrests a suspect, but Assistant DA Claire Sloan (Kidman) has to release him because the man is working as an informant against possible post-9/11 terrorists. The suspect soon disappears, but years later, Karsten, now a private investigator, thinks that he has located the killer and seeks Claire’s help in making an arrest.

In the original version of Secret in Their Eyes, the victim was a married woman whose husband ‘s grief led the police detective to pursue the investigation of what had become a cold case. The detective empathized with the widower because of his own unrequited love for the prosecuting attorney. Ironically, replacing a relatively minor character in the original with Julia Roberts, who is an integral part of the task force, harms the entire dynamic of the film. Director Billy Ray beefs up Roberts’ role by providing flashback scenes of happier times with Jess and her daughter to explain Ray’s continued pursuit of the case for a decade, thus reducing Claire’s character to mere eye candy. The result is a routine procedural, replete with shootouts and chases, and not all that credible a one. The national security rationale for dropping the case given by the district attorney (Alfred Molina) never rings true with Jess sitting in the next room grieving about her lost daughter. Kidman still has the most effective moment in Secret in Their Eyes, an interrogation scene in which she uses her sex appeal to elicit an incriminating reaction by the suspect. Beyond that, the movie feels oddly drained of passion until the shock ending that, while still powerful, is far more muddled than in the original. There’s simply too little secret left in Secret in Their Eyes.
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Our Brand Is Crisis: Mini-review


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Sandra Bullock

Sandra Bullock doesn’t seem to be involved in any crisis here

C+Only one thing keeps Sandra Bullock‘s new political comedy Our Brand Is Crisis from being a biting political satire, but that one thing, or more accurately, one person, is Bullock herself. Director David Gordon Green and screenwriter Peter Straughan insist on tailoring the movie to accommodate Bullock’s well-known klutzy but lovable screen persona, and the result is a black comedy that ultimately proves toothless.

Bullock plays “Calamity” Jane Bodine, a former top flight political campaign consultant who has been in seclusion since her last effort turned into an electoral disaster. A former colleague (Ann Dowd) recruits her to breathe life into the moribund campaign of Pedro Castillo (Joaquim de Almeida), a right-wing Bolivian presidential candidate. Jane is somewhat unsure of herself at first, but when she discovers that one of Castillo’s opponents has hired her arch nemesis Pat Candy (Billy Bob Thornton) as a consultant, Jane’s instincts and will to win kick into high gear. Soon, she and Pat are exchanging the dirtiest of political tricks left and right.

Our Brand Is Crisis is loosely based on a documentary of the same name about the 2003 Bolivian election in which the winning president hired James Carville‘s consulting firm (it’s no coincidence that Thornton looks eerily like Carville).  The fictional Crisis wisely chooses to play the material mostly for laughs, since the actual Bolivian election led to widespread bloodshed. The middle third of the movie is by far the best, essentially a primer on dirty tricks, with Jane and Pat pulling out all the stops. However, while Green and Straughan have no problem portraying Pat as the devil incarnate, Bullock plays Jane as the usual sweet Bullock character looking for some sort of redemption, thus taking the bite out of much of the script’s cynical black humor. The finale actually plays like an early version of the script of Norma RaeWith the right actress in the lead role, like Nicole KidmanOur Brand of Crisis could have been a 21st-century version of The Candidate. As it is, though, the only brand this movie is promoting is Sandra Bullock.  
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Paddington: Mini-Review


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Nicole Kidman

Nicole Kidman has a lot of fun as the villain in Paddington

B+The funniest and most charming family Christmas movie of 2014 wasn’t actually released in 2014. Instead, for some reason, while the studios paraded Annie and the latest Night at the Museum movie before parents,  Paddington was delayed and dumped into theaters in the annual January burial ground. Fortunately, this gives parents something to enjoy along with their children through the rest of the winter.

Based on the popular children’s books, Paddington is the story of a young talking bear (voiced by Ben Whishaw) whose aunt sends him to London to find a new home. He is taken in, temporarily at first, by kindly Mary Brown (Sally Hawkins) and her more cautious husband Henry (Hugh Bonneville), who is concerned about Padington’s tendency to get into trouble. Naturally, however, Henry eventually has a change of heart, especially after Paddington is bearnapped by the director of the Natural History Museum (Nicole Kidman), who thinks that a stuffed and mounted Paddington will make a prize exhibit.

Paddington is that rare family film that is genuinely warm and charming without pandering, and it doesn’t hit viewers over the head with its lessons about family. Some of the slapstick humor will be too childish for adults, but director Paul King lets the set pieces play out slowly, letting Paddington gradually get himself into an even bigger mess. He also includes a number of quite clever jokes aimed squarely at the adults in the audience. Plus, from a technical standpoint, the CGI work is nearly flawless; the computer-generated Paddington blends in smoothly with the live actors. Paddington is one movie whose trailers don’t do it justice; it more than bears watching by viewers of all ages.
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