REVIEW: Secret in Their Eyes Paints by Oscar-Winning Numbers

Because the story shifts between the mid-'70s and the late-'90s, we get to see two versions of Espósito and Irene, the youthful, moderately idealistic versions (although Espósito is a little older than his romantic counterpart) and the older ones, people who have made choices in life that have disappointed them. That gives both actors a nicely varied palette to work with, and they rise to the challenge: Villamil, in particular, vests her character with slow-burning intrigue. As the young Irene -- a smoldering looker with fabulous Ali McGraw hair -- she's serene and confident but also stern. After Espósito messes up on the job, she tells him how she smoothed things over with the higher-ups by flashing her most irresistible smile. When he teasingly, and a little boldly, asks why he hasn't seen that smile, she shoots back, "I save it for my boyfriend." And then, after a beat, she adds the killer coda, "As I should."

The cinematography here, by Félix Monti, is low-key and gorgeous; Monti's burnished colors make even everyday interiors, like modest apartments and nondescript workplaces, look sufficiently cinematic. Regardless, this isn't a movie that's nice to look at because it has pretty scenery; the faces are the scenery, and Campanella and Monti know it.

The Secret in Their Eyes is something of a toned-down counterpart to Niels Arden Oplev's recent The Girl with the Dragon Tattoo, only with more romance, a lot less violence and many fewer forensic photos. And for that, it's probably the better film: It trades in gently simmering suspense rather than flashy transgressiveness. The Secret in Their Eyes isn't bad. But I wonder if it would garner much attention if it hadn't won that Oscar. It's like celebrating a dull colleague who's worked long and hard, with unwavering efficiency and devotion. Decency compels you to pay a little attention. Excitement has nothing to do with it.

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