Avaliações do Metacritic

With a small cast and a handful of locations – the only other character of note is Rachel (Seimetz), Thomas’ unsuspecting wife – The Secrets We Keep blends the best of B-movie thrillers and black box theatre.

The genre elements are nicely balanced by the adult drama embodied in the lead quartet’s performances, especially Rapace’s turn that is part femme fatale, part damaged soul.

The film is ultimately too tidy to embrace anything truly startling or unexpected, either stylistically or narratively.

A dramatic thriller tackling serious themes — the aftermath of war, the cost of retribution and the possibility of redemption — the movie can't always get out of its own way, as reliably effective as Rapace is.

This “Death and the Maiden”-like suspense drama is neither fully convincing nor particularly original, its narrative running a course that feels somewhat predictable from the outset. But it’s still strong enough to be effective.

The Secrets We Keep is a film in search of a more coherent message.

For the most part, though, these secrets aren't worth passing along.

What grates about director Yuval Adler and his co-writer Ryan Covington pilfering so obviously from Dorfman’s work is that they haven’t done anything particularly interesting with it.

An exploitation film that proceeds as if it were a solemn memorial, The Secrets We Keep doesn’t do right by the Holocaust history it invokes — or much else.

While I rather doubt that co-writer/director Yuval Adler pitched his new picture as “'Death and the Maiden' meets ‘Leave it to Beaver,’” that sure is what he ended up with, conceptually at least.