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 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.
M: Customer reviews: The, girl on the, train
In the book, rachel says of herself, i am no longer desirable, i'm off-putting in some way. 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 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. But the ever-present possibility of trick endings to the side, it isn't too difficult to come up done 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.
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. 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 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 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.
The, girl on the, train, movie, review (2010) roger
Tate taylor's adaptation of the best-selling paula hawkins novel stars Emily Blunt as an alcoholic who becomes obsessed homework 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 faithful to the book both structurally and in dramatic incident.
From the intimacy. My summer of love, through the hangry sorcerers apprentice. The devil wears Prada to russian the sci-fi action heroine. Edge of Tomorrow and the blindsided fbi agent. Sicario, blunt has proved herself to be a mesmerising presence in a range of genres. In Rachels fractured personality, we see echoes of Blunts previous screen lives, refracted through a prism of self-destruction that somehow never alienates the audience. Retaining the British accent that makes her even more of an outsider in this scary new World, Blunt convinces completely as a drunken fish out of water. This train may not be bound for glory, but her disruptive company is worth the price of the ticket).
are inevitable, although a closer screen cousin would be rowan Joffes amnesiac thriller. Before i go to Sleep (from sj watsons novel a connection emphasised by a line of Rachels voiceover, which eerily echoes that title. Rear Window obviously looms large too, yet its the erotic thriller template laid down by the joe eszterhas-scripted. Jagged Edge and, basic Instinct that casts the longest shadow. Screenwriter Wilsons credits include. Secretary and, chloe (the latter being Atom Egoyans unloved remake of Anne fontaines. Nathalie both of which vaguely prefigure the voyeuristic twists served up here as she wrestles with the multiple voices of Hawkinss source. In the end, however, the whole movie rests upon the shoulders of Emily Blunt, and she holds it all together brilliantly, even as her character is falling apart.
When Haley bennetts alluring Megan goes awol, rachel presents herself to handsome Scott (luke evans) as an old friend with crucial information. But do rachels own lapses of memory hide a guiltier secret? Im not the you girl i used to be, says the circling narration, a phrase that echoes throughout the film, linking the central characters, all of whom are variously living a lie. Theres a strong, feminist-inflected suggestion that Rachel, megan and Anna are different sides of a singular shared experience, their dreams, memories and voices intermingling in a mosaic of female rage, a silent scream in this modern Stepford. Intertitles announcing fluid character perspectives (Megan, Anna and time frames (Six months ago, last Friday, today) are flashed up on screen, but its Christensens camera that really defines our point of view, from the gliding shots of restless Megan, through the glacial home life. As seen through Rachels eyes, the world has an appalling hangover, forever awakening in a pool of blood and vomit. Theres a touch, too, of William Hjortsbergs.
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Fans of paula hawkinss runaway bestseller have reacted with dismay to the changes made to her story as it travelled from the page to the screen. Whether its shifting the destination from the grit of London to the gloss of New York, or casting commuters too glamorous to ride this route, the help director Tate taylor has signally failed to reassure doubters that their beloved journey has not been disrupted. Yet for those (like me) who jump aboard taylors movie before reading the book, theres plenty to keep this cinematic train a-rollin, from Charlotte Bruus Christensens adventurous cinematography to danny Elfmans expressive score and Erin Cressida wilsons oddly sympathetic script. Most importantly, in the shape of the mercurial Emily Blunt, The girl on the Train has a believably derailed heroine whose hollow eyes, crusty lips and stumbling gait convey. Leaving Las Vegas levels of addiction while still retaining an air of mystery and intrigue. Retaining her British accent in this scary new World, Blunt convinces completely paper as a drunken fish out of water. Stupefied by her divorce from Tom (Justin Theroux Blunts permanently pickled Rachel travels the picturesque hudson Line into the city, passing through the leafy, upmarket suburb where Anna (Rebecca ferguson) is now raising a child with Rachels ex-husband. Attempting to avert her gaze from her former home (That bitch is living in my house rachel fixates on a neighbouring dwelling whose glamorous inhabitants seem to be staging theatrical acts of love for her viewing pleasure. Rachel imagines them existing in a state of bliss, until she glimpses something that cuts against her sozzled fantasies.