Paula hawkins s madly popular The, girl on the, train had a terrific main character on the page. The fact that she's still terrific on film is reason alone to see. Rachel Watsons unreliability, as both a narrator and a person, is the common-or-garden kind you could experience in any packed tube carriage, on any night bus. Shes an alcoholic, who comes on to us as a high-functioning one, then reveals a succession of ever-more-disturbing truths about herself. She had a husband, tom Watson (. He remarried; she did not.
The, girl on the, train by paula hawkins
But the ever-present possibility of trick endings to the side, it isn't too difficult to come up with the most rational supposition as to who the baddie is, and the revelation, when it comes, isn't the least bit gasp-inducing. The other suspense rates as little more than curiosity, as to whether or not Rachel will ever pull herself together and pour the hooch down the drain instead of down her throat. A few nice character performances lurk around the edges, including those by Allison Janney as an approachable cop; laura Prepon, given too little screen time hats as Rachel's indulgent landlady; and especially lisa kudrow, who brings exceptional verve to a nothing role. The lone creative element to command coercive interest here is Elfman's score, which employs sonic currents of tonal irregularities, pulsations and mood instigators rather than melodies, typical tension tropes or any of his trademark gambits from the tim Burton collaborations. He almost makes the film seem good from time to time. Opens: Friday (Universal production: Marc Platt Productions, cast: Emily Blunt, haley bennett, rebecca ferguson, justin Theroux, luke evans, Edgar Ramirez, laura Prepon, Allison Janney, darren Goldstein, lisa kudrow, lana young. Director: Tate taylor, screenwriter: Erin Cressida wilson, based on the novel by paula hawkins. Producers: Marc Platt, jared leboff, executive producer: Celia. Costas, director of photography: Charlotte Bruus Christensen. Production designer: kevin Thompson, costume designers: Michelle matland, Ann Roth Editor: Michael McCusker Music: Danny Elfman Casting: Kerry barden, paul Schnee rated r, 112 minutes).
It's not just that i've put on weight, or that my face is puffy from the drinking and the lack of sleep; it's as if people can see the damage written all over. Try as the actress might, all of Blunt's grimaces, slurred words and unbalanced walking don't really convince that she is Rachel; it feels like an act. But the real problem is that she's a drag, as is virtually everyone else who populates this dire tale of serial misbehavior among would-be-but-not-really friends. The puzzle write of how the various personal and narrative pieces will eventually fit together exerts a smidgen of interest, but the characters are so dour and lacking dimension as to invite no curiosity about them. The two main men, tom and Scott, are humorless, ornery, sexually presumptuous and incapable of saying an interesting word about anything. The women aren't much better: The sullen Megan resembles a beautiful zombie, anna can think or speak of little other than her baby and Rachel only with great difficulty emerges from her booze-soaked cocoon. Taylor's first feature was called. Pretty Ugly people; that could equally serve as the title for this one. All of this wouldn't matter quite so much if the central mystery had been more compelling.
Kamal Abdic (Edgar Ramirez a problematic character in that, a) he has some professional ethics issues he ought to sort out, b) he just sort of disappears from the narrative at a certain point and c) his name suggests Middle eastern descent (explicitly. Once it was decided to cast Ramirez, an excellent actor, why not just change the character's assignment name instead of inviting perplexity? The sometimes formidable screenwriter Erin Cressida wilson has retained Hawkins' storytelling architecture, which involves shuffling three female first-person points thesis of view as well as hopscotching among past and present time frames. Still, the central voice belongs to rachel, who spends a good deal of her time trying to remember the details of an awful drunken night when something very bad happened. The problem, however, is that Rachel just can't stay off the sauce. Taylor and his cinematographer move the camera around in any number of disorienting, unsteady, focus-changing ways to communicate the protagonist's instability. But the bottom line is that what we're looking at much of the time is a woman with bleary eyes, blotchy complexion and a demeanor of sour discontent who nonetheless remains movie-star pretty. In the book, rachel says of herself, i am no longer desirable, i'm off-putting in some way.
The changes lie elsewhere: The setting has been shifted from greater London to the new York city suburbs, the milieu is much more upscale than in the book and the title character in the film is both more physically attractive and less ironic than. As the cinema is arguably the artistic medium most conducive to conveying sustained voyeurism, this particular story held a great deal of potential. The first mistake of cast-off ex-wife rachel Watson (Emily Blunt) is to continue to live in immediate proximity to her ex, tom Watson (Justin Theroux and his beautiful new wife, anna (Rebecca ferguson especially now that they have a baby, something a jealous Rachel was. While drowning her sorrows with the bottle and having long since lost her job due to drunkenness, rachel spies on and harasses Tom and Anna with persistent phone calls, unwanted visits and, unbeknownst to them, prying looks as Rachel passes by their house twice. Along this river route also lies the house shared by ultra-macho Scott Hipwell (luke evans) and his gorgeous young mate megan (Haley bennett who not only bears an acute resemblance to Anna but, at the outset, works as the nanny for Anna's child. Rachel likes to spy on her, too, and one day her prying eyes hit pay dirt when she spots Megan on an upstairs deck kissing a man who is decidedly not her husband. In fact, it is the local ladies' favorite shrink, dreamy-looking.
Book, review : Girl on a, train by
Its a skinnyGirl cocktail to gone girl s potent real thing. Get Vanity fairs hwd newsletter Sign up for essential industry and world award news from Hollywood. The girl on the train spoiler-free review discussion. Watch queue, queue _count total loading. Transcript, the interactive transcript could not be loaded. Tate taylor's adaptation of the best-selling paula hawkins novel stars Emily Blunt as an alcoholic who becomes obsessed with a local murder case. Paula hawkins is on record as disliking comparisons of her sensationally successful 2015 best-seller.
The, girl on the, train to the previous girl crime fiction smash, gone, girl. There's no doubt that Tate taylor, the director of the film version of Hawkins' novel, will also object to having his work held up next to david Fincher's cinematic take. Gone, girl, as the juxtaposition will certainly not be to his benefit. A morose, grim and intensely one-dimensional thriller about an alcoholic's struggle to make sense of a close-to-home murder as well as her own mind, this major fall release from Universal can count on a panting public to pack multiplexes upon its opening Friday. But this train may hit a yellow commercial light sooner than expected down the line. Distinguished only by a quite extraordinary musical score by danny Elfman, working in an entirely uncharacteristic mode, and some adventurous camerawork from dp charlotte Bruus Christensen, the film is very responsibility faithful to the book both structurally and in dramatic incident.
Just as evanss and Justin Therouxs handsome, menacing maleness had me pining for Ben Afflecks perfect preppy-scuzzy turn in Finchers film. (Though I will say, i vastly preferred evanss Girl on the Train shower scene to Afflecks much-debated one in Gone girl. ) While Blunt and others do their mighty best to keep The girl on the Train as high-brow and psychologically savvy as possible (Bennett and Ferguson are both strong on this front by its climax, the film has become a glossy version of a 1990s. Which isnt exactly an insult—indeed, i would love it if the 2014 dual successes of Gone girl and no good deed led to a full rebirth of the slick, sorta trashy domestic thrillers of the 1990s. Its just that The girl on the Train —which could be content to be merely grim entertainment—is trying to be something more, with something to say.
Its not, and all that wasted effort gives off a bad smell. In the end, the film uncomplicates its once-interesting characters, either exonerating them or distilling their villainy into something rather banal. There are two major secrets revealed that, from far away, look like theyre related. But the closer you get to film, brushing aside dead leaves and examining the scene, the more you realize they actually have little to do with each other. The existence of these twin mysteries hints at a craftier, crueler movie that could have been, but The girl on the Train keeps it simple. Its final set-piece is alarming and unnerving and worth the wait. And Blunt is, as ever, a force for good in the world. Plus, did I mention the luke evans shower scene? But none of The girl on the Train has the vulpine, probing kick of its predecessor.
The, girl on the, train (2016) - imdb
Her memory is more than hazy because she was so drunk that night, something that taylor manipulates to increasingly unconvincing effect. The rules of the movie here are fuzzy: either Rachel was blackout drunk or she wasnt. Try as many of us have to recover data after a particularly bad night of drinking, some things are just lost forever. But taylor has to give some sense of cumulative build to the mystery, so he introduces woozy glimpses into rachels memory that gradually take shape and sharpen. (Maybe tate taylor could resume help me piece together what, exactly, went down the night of my 26th birthday? Id love to know after all these years!) Aiding in taylors investigation is Allison Janney, as a dogged, suspicious detective keen on Rachels guilt from the get-go. While the great Allison Janney is always welcome, her presence here mostly made me miss the marvelous Kim Dickens in a similar role in Gone girl. Just as the twists in The girl on the Train made me long for the relatively elegant contours of Gone girl.
The girl —the one glimpsed from the train, not the one on the train —goes missing, and is presumed dead. But we get to know essay her in flashbacks. Shes Megan ( Haley bennett gorgeous and sad, stuck in a rough, love-starved marriage to a handsome brute named Scott ( luke evans ). Theres an air of sexual danger surrounding Megan, as we see in sessions with her stern therapist ( Édgar Ramirez, hopefully earning a decent paycheck). Meanwhile, in other intercuts, we get to know the woman Megan is nannying for, another beautiful blonde played by rebecca ferguson. I wont tell you who she is exactly, and how she relates to the story, but you can probably guess. Maybe its in the trailers. Anyway, megan is missing and Rachel was nearby, perhaps present, at the moment of her disappearance.
quite sure i buy. These miserable bourgies dont seem like the types to purchase train -track-adjacent homes?) Rachel is obsessed with this woman (this girl? who seems so contented and in love, because rachel herself is anything but. We come to learn that shes a raging alcoholic, furtively sucking vodka out of a water bottle all day, chugging wine and repeatedly calling her ex-husband at night. Shes crashing at a friends place; that friend is played with weary frustration by laura Prepon. Rachel is an utter mess, and Blunt plays those extremes—drinking, stalking, living with laura Prepon—with bruising conviction. Shes genuinely hard to watch, broken and blubbering and shifty. Blunts committed work elevates the material for as long as it can, but eventually the shallowness of Hawkinss narrative (adapted by screenwriter Erin Cressida wilson ) can be dressed up no longer.
Theres a lot of eh, fine going. Tate taylors film, by turns stately and stupid, an entertaining fall thriller that aspires for more and falls short. Ill start with what works. Chief among the films successes, as is true of many movies shes in,. An actress of range and intellect, Blunt is handed a big box of shit to deal with. The girl on the Train, and she sifts through it all with shambling aplomb. She plays Rachel, a wet-eyed sad-sack who commutes by train from the suburbs into new York city.
The, girl on the, train - book review!
Perhaps the girl is gone because she got on the train? Thats the kind of association that the producers of the new film. The, girl on the, train really want you make—and you will. Paula hawkinss novel, the, girl on the, train was immediately compared. Gillian Flynns smash-hit novel, gone, girl, and now the film based on Hawkinss book, with its similar palette and vague whiff of prestige, is inevitably getting the same treatment. Its packaged as a follow-up or spiritual sister to 2014s luxe, leering blockbuster adaptation of Flynns book. But tellingly, in, gone, girl, the girl in the title is a kind of sneering joke, a reference to Flynns viral immolation of what she deemed cool girl culture. The girl on the, train, however? I dont really know why shes a girl, except that if she is, the title can then the sound like the other title.