The erotic thriller has been a genre in film which has seen
immense popularity over the years. Start with a troubled couple, add in a love
triangle and a whodunit mystery with a twist or two…and we’ve got the makings
for good drama and suspense. The genre has unfortunately become a little predictable
recently, and Paula Hawkins’ novel The
Girl on the Train seeks to distance
itself from the same-old same-old by changing the first-person narrative
between three characters. An interesting approach, and a challenge for director
Tate Taylor and his screen adaptation of the novel.
Rachel (Emily Blunt) is a depressed alcoholic prone to
blackouts who only finds happiness in watching Megan (Haley Bennett) and her
husband Scott (Luke Evans) from afar every day from her seat on a commuter
train at a stop. Rachel witnesses what she believes to be infidelity, and Megan
later vanishes…which has Rachel wondering if she and her blackouts were
involved.
THE GIRL ON THE TRAIN tries to set itself up as a study to
how people react when faced with great loss. Rachel, having messed up her life
due to her drinking and (slight spoiler…alleged
blackouts), and finding ways to cope with that loss. Seeing Rachel trying to
find happiness through others is interesting and makes for a solid start, but
the film dives into a convoluted maze of plot. Megan winds up being the former
nanny of her neighbors, who happens to be Rachel’s ex-husband Tom (Justin
Theroux) and his wife Anna (Rebecca Ferguson)…and those neighbors just happen
to live two doors away, which gives Rachel plenty to look at every time the
train comes to that stop. On top of that, Megan may or may not be having an
affair with her shrink Dr. Abdic (Edgar Ramirez)…whom Rachel winds up visiting
to try and fill in her blackouts.
The thickness of plot (and lame contrivances) can be forgivable,
but the film jumps all over the timeline in its telling. First we’re in the
present, then back to months ago, then back to the present, and back to four
days prior, and then back to years before. It’s a lot to take in, and even the fonts
that come up to help us keep track wind up being annoying. The film is also a
grind with deadly pacing, and each character is portrayed as a miserable
shitbag whom no one would want to spend time with…never mind root for. Perhaps
that is a fault of the source material, or maybe the screenwriters couldn’t
find a way to trim the fat, but THE GIRL ON THE TRAIN winds up being a messy
bore. The early goings focus on the three women and their first-person
narration, which (again), is a nice start but eventually that goes out the
window for a traditional narrative which makes for a choppy and inconsistent style.
Director Tate Taylor also doesn’t do anything great behind the camera, but in
the editing he does find room for Danny Elfman’s score to shine.
But there is one thing to love in this film, and that is the
outstanding performance by Emily Blunt. Blunt puts us through every emotion in
the book, and her drunken scenes of loneliness and despair have to be seen to
be believed. Blunt sells the character with a single look, and her ability to
turn her attractive features into a drawn and droopy sad person is amazing.
Truly, this is her finest performance to date. The rest of the cast handles
their assignments well. Allison Janney shows up as a detective looking for the
missing Megan, but the role is so small that her talent seems wasted.
The identity of the person responsible for making Megan
vanish comes by way of a few well-intentioned twists and turns, but once it’s
revealed…there’s a “that’s it?” type of feeling. The film wants to be a clever
whodunit but doesn’t have the shock value at the end, and one can’t help but to
feel that things would have worked better without all the plot and just focused
on the character and her issues. THE GIRL ON THE TRAIN isn’t a total derailment
thanks to the performance of Emily Blunt, but doesn’t get us to the station on
time either.
BOTTOM LINE: Rent it
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