The Girl on the Train
The Girl on the Train
Rendező:
Tate TaylorForgatókönyvíró:
Erin Cressida WilsonOperatőr:
Charlotte Bruus ChristensenZeneszerző:
Danny ElfmanSzereplők:
Emily Blunt, Rebecca Ferguson, Haley Bennett, Justin Theroux, Luke Evans, Edgar Ramirez, Allison Janney, Lisa Kudrow, Laura Prepon, Marko Caka (több)Tartalmak(1)
Rachel (Emily Blunt) minden áldott nap felül a vonatra, hogy bemenjen a városba, és minden áldott nap kétszer elhalad a régi háza előtt. A ház előtt, ahol a volt férje (Justin Theroux) az új feleségével (Rebecca Ferguson) és nemrég született gyermekükkel lakik. Rachel képtelen elengedni a múltat, és miközben fájdalmát alkohollal próbálja enyhíteni, egy fiatal párról talál ki történeteket, akiket a várakozó vonatról figyel meg. A nő elképzelése szerint Megan (Haley Bennett) és Scott (Luke Evans) élete tökéletes: gyönyörűek, szerelmesek és hűségesek egymáshoz. Ám egy nap valami olyan megdöbbentőt pillant meg a vonat ablakából, ami mélységes félelemmel tölti el. A kétségbeesett nő mindenáron ki akarja deríteni az igazságot. Tanúnak jelentkezik a rendőrségen, ám alkoholizmusa és emlékezetkiesései miatt senki se hisz neki még ő maga sem... (Freeman Film)
(több)Recenziók (13)
A csinos formalitás sikeresen elfedi a történet rejtett titkát, a színészeket pedig jó nézni. De a titok leleplezése csak egy közönséges thrillert csinál belőle, amelyben nincs nyoma leleményességnek, amelyre csak a népszerűsített könyvnek köszönhetően mennek tömegek a moziba. És Fincher miatt.
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Just as when reading the novel on which The Girl on the Train is based, it is impossible to avoid comparisons with Gone Girl. Both films have noirish, bleak visual stylisation (in Fincher's case, that’s the director’s signature; in Taylor’s, it’s rather an imitation), both depict marriage as a life-threatening game filled with manipulation, lies and hypocrisies (with a cynical sense of detachment and ironic distance from the characters in Gone Girl, but in all seriousness in The Girl on the Train), and both films alternate between multiple narrators (with greater sophistication in Gone Girl). Compared to the slightly misogynistic Gone Girl, The Girl on the Train is more explicitly targeted at adult female viewers, who are encouraged through Rachel’s story to rely on themselves rather than on what they are told or what others want for them. Especially men. ___ As in the book, the final reversal of the roles of victim and offender is a tribute to the emphatic pro-woman cri de coeur, which greatly degrades the impact and sheds doubt on the meaning of the film’s portrayal of an alcoholic woman. Built more on strong acting performances than on narrative games, the film is largely conceived not as a crime thriller, but as a psychological study of an internally insecure woman in search of her lost (self-)confidence. The ending, which unlike the book contains a needless epilogue, suddenly negates this feeling of shame and guilt, intensified by the excellent Emily Blunt throughout the film. As in many of Hitchcock’s thrillers involving the transfer of guilt, the perpetrator was someone other than the film had previously indicated, which in this case, however, serves to resolve only the crime aspect of the narrative, but not the psychological dimension, which comes off as unsatisfying. ___ Thanks to the graphic continuity of the shots and precisely timed editing, Taylor succeeds in fostering the impression of fluidity and interconnectedness of the individual segments of the narrative, or rather of the individual narrators. Flashbacks showing various distant episodes from Megan’s life intensify the suspense with respect to what actually happened. Like Rachel, with her memory affected by sipping vodka, we know only fragments of reality and we have to continually add to and adjust the overall picture on the basis of new information. Like the protagonist, we also mistakenly infer who we are seeing in some of the images based on the available context. The unreliable narrative thus does not serve as the screenwriter’s calculated attempt to deceive the viewer, but is organically connected with the protagonist’s mental state and cognitive abilities. As a result, The Girl on the Train is a compact and focused film, most of whose shortcomings (the mishandled ending, lack of detachment, occasionally melodramatically forced sense of tragedy) stem from the book’s premise or are associated with the audience’s expectations (it’s not a thriller, but a drama). If you see romantic relationships as a cynical comedy that sometimes bring a smile to your face, Gone Girl will probably remain your favourite relationship movie. If you prefer a more tragic approach, The Girl on the Train may suit you better. 80%
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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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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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A rare case where the adaptation perfectly copies the emotional and subjectively perceptual arc of the original, including its greatest strengths and weaknesses. It builds a perfectly constructed female triangle, pulling closer with every scene, a paranoid atmosphere where no explanation of the mystery is too far-fetched – and unfortunately, a conclusion that disappointed me as the absolute simplest and altogether black-and-white solution. Despite that, thanks to Emily Blunt, I was considering a higher rating for a long time, as she portrayed Rachel with credible emotions even in the subtlest nuances. Haley Bennett prevented me from doing so, sine despite her undeniable charms, she is too cold and cannot fully portray the idealized Megan due to her completely superfluous transparency.
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The book was better, it went more in depth. The disappearance was better, more shocking. Too bad there was such a rush to get to the plot. If I didn't know the characters from the book, the introduction just wouldn't have been enough. The brief flashbacks are not enough of a source to get information about the characters' pasts. I liked the Rachel’s discovery, even though a simpler path was taken to get there compared to the book. I see this moment as the most emotional of the entire film. The acting was handled very well. I'm just annoyed that the train in the film was headed to New York instead of London. There's a hell of a difference between Britain and the States.
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The main villain is a bottle of tequila... A mediocre thriller which is exceptional only for assembling and showing the nightmares of every woman. Not bad in terms of acting, the so-called nudity is laughable; and I expected better even from Elfman.
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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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Creativity? If only! Gone Girl 2, but for a less sophisticated audience that hasn’t seen much and only knows Fincher from the train. Thanks to the novel it's based on, Girl on The Train has the potential to be a chilling and distinctive thriller, but that potential is nullified by a twist that anyone can guess halfway through the film. The other thing that doesn't work reliably is the editing and all the flashbacks and time jumping. Someone must have been under the influence of drugs, because it is very difficult for the viewer to piece together what, when, where, how, and anyway they explain it semi-literally and literally at the end, even though leaving loose ends would have been so much better. Emily Blunt gives a performance that makes you hope from the halfway point that she will take off her autumn coat, show her muscles and start doing good with a gun in her hand, but it doesn’t happen.
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Yes, I know that Gone Girl was filmed better, but I liked The Girl on the Train a little more. The thing is, while watching this story, I didn't shake my head in disbelief as often, and I liked the way the film stayed grounded and didn't need to hurl one “surprising" twist after another at us. And although I know she's an excellent actress, I've never seen Emily Blunt act this great before.
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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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I don't like fanatics be it religious zealots, morons who think a woman is a consumer product with the same rights as a can of beer, or rabid feminists who are looking forward to the reproductive process finally being possible without involving a single male cell. They all annoy me equally. I think this film was made by the third group, so it was pretty obvious who the repulsive cowardly bastard would be. The plot was pretty lackluster and with so many digressions that it almost went the full circle and bit itself in the ass. The action did pick up momentum in the end, but I was still glad to see the closing credits roll. Emily Blunt’s talent was wasted on this role. On the other hand, she was thoroughly convincing as an alcoholic.
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You spend a long time watching something that doesn't entertain you. The protagonist Emily Blunt is unpleasant, annoying, and you know all along that it's going to be a bit different. The repetition of scenes becomes irritating, but you know it has a purpose. And yes, the film turns out to have a pretty good point in the end, but what you're watching up to that point just isn't gripping.
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