24th Hall of Fame

El secreto de sus ojos (2009)
aka The Secret in Their Eyes

There's lots of good in The Secret in Their Eyes, especially during the first half, but toward the end, it kinda loses its focus and gets lost in its predictable twists. I really liked the initial concept of this retired man working on a novel based on a case that's bothered him for decades (and reflecting on his past mistakes along the way). Somehow writing and detective work just goes so well together (like the miniseries Four Seasons in Havana).


Little after the midpoint, the film takes a turn towards politics and conspiracies, and revenge. The characters and their interactions were the strength of the first part, and the shift toward a plot-centric thriller is unneeded. Especially as the last hour offers no surprises (and neither does the debate about death sentence vs life in prison). I do like how the film doesn't condemn taking justice into one's own hands in the situation, though.

The Secret in Their Eyes is a good-looking movie. The only issue in that department is that the 70s and 90s look exactly the same. The acting is the best thing in the film, especially the protagonist and his drunkard co-worker are excellent. The titular event or concept felt a bit forced and made the whole investigation seem gimmicky. I would have preferred if it was just about the characters and one (preferably unsolved) murder case haunting the protagonist after all these years.

So, in the beginning, I was prepared to love The Secret in Their Eyes. Sadly it faltered quite a bit along the way. It was still good (barely, but still) and definitely worth seeing.

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I can't think of this movie and not have the Dave Chappelle skit enter my mind. He lampoons the fact that Antwone Fisher is writing his own story, I'm sure embellishing some aspects to make himself look tougher or sympathetic. Yet...who would be in the best position to tell this story if not him?

I found the story rather engaging. I went in knowing that it starred Washington and dealt with the Navy, that was about it. Seeing Fisher's progression from a shut-off tough kid to someone who learns to love and open his heart was heartwarming. The story elements from his life hit familiar beats so while there were no real surprises here, I didn't feel like the film needed any.

The small subplot involving Washington's own troubles with his wife felt shafted in the end and wrapped up with some quick lines of dialogue. That aspect aside, the film works and showcases some good performances. Derek Luke seems to have gotten small roles here and there but never broke out to star status. He holds his own against heavyweight Washington and a surprise role by Viola Davis has a lot of heartfelt emotion when very little is said.

Good nomination, a movie I would probably never have sought out.

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Suspect's Reviews

Yes, I'm still alive.

Was worried about you bro.

La Dolce Vita (contains spoilers)

This is the masterpiece I hoped it would be. What's surprising about it, though, is that the title is not so much a statement about the life of the tabloid journalist protagonist as it is a question: is La Dolce Vita one of freedom? One of stability? Somewhere in the middle? Speaking of Mastroianni's character, Marcello Rubini belongs in the ranks of Don Draper in Mad Men and Princess Margaret - well, the version of her in The Crown, anyway - of memorable characters who are unhappy and unfulfilled despite having astounding privilege. Even though he has a city like Rome as his playground and has affairs with the most beautiful women in the world, Marcello envies his longtime (and mutually envious) friend Steiner, who has a more respectable career, a nuclear family; in short, everything he claims to be against. What I love the most about how the movie depicts Marcello's dilemma is that the portal into the kind of life Steiner lives is so close (yet far away) in the form of his devoted yet long-suffering fiancée Emma and that it gets farther and farther away as the movie progresses until it closes completely with his failure to communicate with the sweet waitress Paola. Also, the way the movie hints that the life Marcello strives for is analogous with being dead is fascinating and fascinatingly presented. From the parties that are described as funerals to the journey through the castle's catacombs to that stare on the beached fish, the movie certainly has a much different attitude about the lives of the rich and famous than, well, the show of the same name does, and makes it a counterpart to another Italian masterpiece from the same year, L'Avventura. There is also that other form of death - one which may be the overarching elephant in the room - which is Rome succumbing to modernity. Besides all those shots of the soulless, boxy apartment complexes, this is best exemplified in the breathtaking opening scene of the helicopter transporting what may be the last vestige of the ancient city to the new one. I do have mixed feelings about the episodic structure of the movie, which, while clever, is a bit alienating and disorienting considering each one begins practically context free. I'm not asking to be spoon-fed or anything, but adding titles to the episodes would not have been an unwelcome touch. To be fair, this is a very minor complaint, especially since I'm still replaying scenes from the movie in my head days later, can see myself ranking it as one of the best movies I've ever seen and am still wondering just what La Dolce Vita could be. Thankfully, the movie leaves that question up to you.

Great review, @Torgo. You hit on a lot of points that truly makes this film as great as it is.

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~Mr Minio

Thanks! I just wish I could have found a place in it for

The Secret in Their Eyes

One of those movies that I thought may be for me but it just didn't turn out that way. It wasn't a bad movie but I certainly felt the length and I wasn't engaged with the characters or the plot so I found it a chore at times. The overall story was one of interest though just the execution wasn't there on a personal level for me. I forgot who said it but I'll agree that I didn't really "believe" in a bunch of the acting as it felt a little too elementary for me. Unfortunately I don't have a lot to say. It sounds like I'm dogging the film but it wasn't bad it was just one of those that didn't click the personal check boxes on what I look for with this type of movie. Technically I had no issues.



And that's a wrap from me!

Anyone know what’s the word is on MG? Was going to rent her film this weekend along with a few others, but if she hasn’t posted since January.

I think I said awhile ago, may as well assume she is out.

It was a great film though, so I would still recommend watching it if you have time.

Hope she's doing alright and it's just life keeping her overly busy.

6 lists are in now. I haven't added anything up yet so no idea how that's all shaking out.

So that leaves Hard Times, Barry Lyndon, Antwone Fisher, Shame, Beasts of the Southern Wild, and The Day of the Jackal. I own Barry Lyndon, so no worries there. Think I’ll hit up Hard Times this week. Hit up the local rental for Beasts and Fisher this weekend, if they have it.

I'm sticking to my schedule. Will try to see The Whisperers and Vampyr this week, so it's all good. Slow but steady.

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Same as Personal HoF:

RAM fried on computer. Getting replacement to fix it this weekend. Don't want to type everything out on a phone, hahaha.

Sorry.

Well hurry up, you're behind!

Hard Times


Charles Bronson is much like John Wayne, in so much they weren’t primarily great actors (although they were both decent) but were described more as a presence. In Hard Times, we see Bronson show he could be both.

Of course, having seen him in The Great Escape, I already knew he could act when called upon to do so. Here, he doesn’t have to do as much as Escape. He just scowls, fights and watches everyone else. And it works.*

Particularly his scene with his fling Lucy, played by his real life wife Jill Ireland, in such a small role it could have been entirely cut out, when she tells him she’s moving on. His face is a mixture of sadness and understanding. He knows it’s a wise decision.

Bronson plays Chaney, a drifter who seems to make nothing but wise decisions, good with his fists, and tough as nails. He gets involved with a gambler, Speed, played by James Coburn, and make money off of these fights. It isn’t long before Speed blows his winnings and fal into debt with a bookie.

The story is basic but works, and the fights are fun to watch even if one does wonder how they can take so many punches to the face without nary a bruise, black eye and barely any bloody nose or lip.

But really, it’s the mood it seems to capture. A sense of of the times. Hard Times (eh? Eh??) sorry, couldn’t resist.

This is my second film from the director Walter Hill this month, having watched 48 Hrs a few weeks ago, and his fourth film overall. I enjoyed The Warriors, didn’t like Last Man Standing. But I’ve enjoyed these last two outings so much (particularly 48 Hrs) that I’m eager to check out more of his films. Nice hidden germ here.

For Walter Hill, I'd also recommend The Driver, The Long Riders, Southern Comfort, and to a lesser extent Trespass and Bullet to the Head.

The first 3 absolutely have my attention, as does Street of Fire.