Directed by:
Tate TaylorScreenplay:
Erin Cressida WilsonCinematography:
Charlotte Bruus ChristensenComposer:
Danny ElfmanCast:
Emily Blunt, Rebecca Ferguson, Haley Bennett, Justin Theroux, Luke Evans, Edgar Ramirez, Allison Janney, Lisa Kudrow, Laura Prepon, Marko Caka, Mauricio Ovalle (more)VOD (5)
Plots(1)
Rachel (Emily Blunt) is struggling. Following her divorce from Tom (Justin Theroux) her life has spiralled out of control. She’s riddled with guilt, loneliness, desperation and the need for love and connection. This leads her to obsess over the people she sees on her daily commute, fantasising about their lives and who they are. She fixates on Megan (Haley Bennett) and Scott Hipwell (Luke Evans), who live down the road from her ex and his family. (Universal Pictures UK)
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Reviews (13)
I like thrillers in a similar vein. That’s also the reason why I gave it one more star than the movie deserves. For most of the runtime, I was actually quite conflicted and I didn’t know what to think about any of the main characters that appeared in the movie. The movie had a strong source material by Paula Hawkins and so I rummaged through the past, the present, and subsequently also fiction and alternative facts. Eventually, the last half an hour, which had balls, started, and it explained a whole plethora of characters, which satisfied me quite a bit. Even though I predicted it a bit differently. Nevertheless, I must admit that there is something about this movie, and even though I spent 90 minutes as if under the haze of alcohol, it still managed to rise to a solid four-star review.
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At first glance, The Girl on the Train evokes Gone Girl, it depicts the issue of relationships that are extremely dysfunctional. Emily Blunt plays the role of an observant and sad alcoholic clinging to her past really well and her performance was truly convincing, as was the atmosphere and the raw authenticity of some of the scenes. However, compared Gone Girl, this film lacks some more WOW-effect at the end, something that would a chill down your spine spine; they could have gone even further, maybe. Moreover, it was clear to me from about halfway through who was responsible for the crime. In short, a film where the potential is visible, but not fully exploited.
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Misery porn with didactic directing and a comically transparent screenplay, from which the killer emerges after about twenty minutes. So, all that remains is to enjoy the overacting of all of the participants, a cute-looking gloom and an exploitative ending, which could be provocative in the hands of a more capable director. It's a Gone Girl for stay-at-home moms and a wannabe psychological probe into relationship misery. As a thriller, no. As an unintentionally cheesy chick flick from the dark red library's provenance? Sure.
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I'm afraid that the whole phenomenon of The Girl on the Train is much more interesting than the thriller itself. However, the net product is a good female drama that shows that it is realized through a female lens. Well, why not? Actually, hip, hip, hooray. But all the PR hype, unfortunately, sells something else entirely, i.e., almost that it is a horror movie about an unstable mysterious woman who perhaps commits some crimes on a train in the moonlight or something. It would be worth analyzing if the product itself is not that good or if the promotion just doesn't believe it can sell the project without manipulation to a recipient who appreciates the topic/genre/whatever. I think it really misses the mark and that's a shame.
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The nice technical aspects of the film successfully hide the story’s secret and the actors are pleasant to look at. But when
said secret is revealed, The Girl on the Train becomes a superficial, dime-a-dozen thriller with zero originality, popular
with cinema audiences thanks only to the fame of the book on which it’s based original. And thanks to David Fincher’s Gone
Girl.
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