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Bob Mann (459 KP) rated The Girl on the Train (2016) in Movies
Sep 29, 2021
You won’t uncork a bottle of Malbec again without thinking of this film…
“The Girl on a Train” is the film adaptation of the best-seller by Paula Hawkins, transported from the London suburbs to New York’s Hastings-on-Hudson.
It’s actually rather a sordid story encompassing as it does alcoholism, murder, marital strife, deceit, sexual frustration, an historical tragedy and lashings and lashings of violence. Emily Blunt (“Sicario”, “Edge of Tomorrow”) plays Rachel, a divorcee with an alcohol problem who escapes into an obsessive fantasy each day as she passes her former neighbourhood on her commute into the city. Ex-husband Tom (Justin Theroux, “Zoolander 2”) lives in her old house with his second wife Anna (Rebecca “MI:5” Ferguson) and new baby Evie. But her real fantasy rests with cheerleader-style young neighbour Megan (Haley Bennett) who is actually locked in a frustratingly child-free marriage (frustrating for him at least) with the controlling and unpredictable Scott (Luke Evans, “The Hobbit”). A sixth party in this complex network is Megan’s psychiatrist Dr Kamal Abdic (Édgar Ramírez, “Joy”).
In pure Hitchcockian style Megan witnesses mere glimpses of events from her twice-daily train and from these pieces together stories that suitably feed her psychosis. When ‘shit gets real’ and a key character goes missing, Megan surfaces her suspicions and obsessions to the police investigation (led by Detective Riley, the ever-excellent Allison Janney from “The West Wing”) and promptly makes herself suspect number one.
Readers of the book will already be aware of the twists and turns of the story, so will watch the film from a different perspective than I did. (Despite my best intentions I never managed to read the book first).
First up, you would have to say that Emily Blunt’s performance is outstanding in an extremely challenging acting role. Every nuance of shame, confusion, grief, fear, doubt and anger is beautifully enacted: it would not be a surprise to see her gain her first Oscar nomination for this. All the other lead roles are also delivered with great professionalism, with Haley Bennett (a busy month for her, with “The Magnificent Seven” also out) being impressive and Rebecca Ferguson, one of my favourite current actresses, delivering another measured and delicate performance.
Girl on a Train, The
Rebecca Ferguson as Anna – “there were three of us in this marriage so it was a bit crowded”
The supporting roles are also effective, with Darren Goldstein as the somewhat creepy “man in the suit” and “Friends” star Lisa Kudrow popping up in an effective and pivotal role. The Screen Guild Awards have an excellent category for an Ensemble Cast in a Motion Picture, and it feels appropriate to nominate this cast for that award.
So it’s a blockbuster book with a rollercoaster story and a stellar cast, so what could go wrong? Well, something for sure. This is a case in point where I suspect it is easier to slowly peel back Rachel’s lost memory with pages and imagination than it is with dodgy fuzzy images on a big screen. Although the film comes in at only 112 minutes, the pacing in places is too slow (the screenplay by Erin Cressida Wilson takes its time) and director Tate Taylor (“The Help”) is no Hitchcock, or indeed a David Fincher (since the film has strong similarities to last year’s “Gone Girl”: when the action does happen it lacks style, with the violence being on the brutal side and leaving little to the imagination.
It’s by no means a bad film, and worth seeing for the acting performances alone. But it’s not a film I think that will trouble my top 10 for the year.
It’s actually rather a sordid story encompassing as it does alcoholism, murder, marital strife, deceit, sexual frustration, an historical tragedy and lashings and lashings of violence. Emily Blunt (“Sicario”, “Edge of Tomorrow”) plays Rachel, a divorcee with an alcohol problem who escapes into an obsessive fantasy each day as she passes her former neighbourhood on her commute into the city. Ex-husband Tom (Justin Theroux, “Zoolander 2”) lives in her old house with his second wife Anna (Rebecca “MI:5” Ferguson) and new baby Evie. But her real fantasy rests with cheerleader-style young neighbour Megan (Haley Bennett) who is actually locked in a frustratingly child-free marriage (frustrating for him at least) with the controlling and unpredictable Scott (Luke Evans, “The Hobbit”). A sixth party in this complex network is Megan’s psychiatrist Dr Kamal Abdic (Édgar Ramírez, “Joy”).
In pure Hitchcockian style Megan witnesses mere glimpses of events from her twice-daily train and from these pieces together stories that suitably feed her psychosis. When ‘shit gets real’ and a key character goes missing, Megan surfaces her suspicions and obsessions to the police investigation (led by Detective Riley, the ever-excellent Allison Janney from “The West Wing”) and promptly makes herself suspect number one.
Readers of the book will already be aware of the twists and turns of the story, so will watch the film from a different perspective than I did. (Despite my best intentions I never managed to read the book first).
First up, you would have to say that Emily Blunt’s performance is outstanding in an extremely challenging acting role. Every nuance of shame, confusion, grief, fear, doubt and anger is beautifully enacted: it would not be a surprise to see her gain her first Oscar nomination for this. All the other lead roles are also delivered with great professionalism, with Haley Bennett (a busy month for her, with “The Magnificent Seven” also out) being impressive and Rebecca Ferguson, one of my favourite current actresses, delivering another measured and delicate performance.
Girl on a Train, The
Rebecca Ferguson as Anna – “there were three of us in this marriage so it was a bit crowded”
The supporting roles are also effective, with Darren Goldstein as the somewhat creepy “man in the suit” and “Friends” star Lisa Kudrow popping up in an effective and pivotal role. The Screen Guild Awards have an excellent category for an Ensemble Cast in a Motion Picture, and it feels appropriate to nominate this cast for that award.
So it’s a blockbuster book with a rollercoaster story and a stellar cast, so what could go wrong? Well, something for sure. This is a case in point where I suspect it is easier to slowly peel back Rachel’s lost memory with pages and imagination than it is with dodgy fuzzy images on a big screen. Although the film comes in at only 112 minutes, the pacing in places is too slow (the screenplay by Erin Cressida Wilson takes its time) and director Tate Taylor (“The Help”) is no Hitchcock, or indeed a David Fincher (since the film has strong similarities to last year’s “Gone Girl”: when the action does happen it lacks style, with the violence being on the brutal side and leaving little to the imagination.
It’s by no means a bad film, and worth seeing for the acting performances alone. But it’s not a film I think that will trouble my top 10 for the year.
Sarah (7800 KP) rated Velvet Buzzsaw (2019) in Movies
Feb 2, 2019 (Updated Feb 3, 2019)
A little confused
A little confused is definitely how I feel about this film. In parts it’s a darkly satirical take on the art world with some horror thrown in, but the rest is just plain old dull with a handful of characters you care little about. Jake Gyllenhaal is great as usual, but I feel the rest of the cast were a let down. Zawe Ashton especially seemed to put in a very deadpan and robot like performance - must have been how her character was intended but it just didn’t work. It also doesn’t help that despite Jake Gyllenhaal, there’s no real main character in this and this is where it falls done, bouncing between a lot of mostly conceited unliveable characters.
This film spends far too much time talking and poking fun at the art world, instead of focusing more on the horror aspect. The story of art killing people is an intriguing one that sounds like it’s been taken straight out of a Stephen King book, it’s just a shame the film didn’t capitalise on this until well over an hour in. Especially as a lot of the horror parts were well done and quite disturbing, although some of the special effects were a bit OTT.
I just find this entire film a little bit meh. It wasn’t terrible, but it’s not particularly memorable either. And whilst I’m sure there’s a message about the fake and judgemental art world, it doesn’t really make for a great film.
This film spends far too much time talking and poking fun at the art world, instead of focusing more on the horror aspect. The story of art killing people is an intriguing one that sounds like it’s been taken straight out of a Stephen King book, it’s just a shame the film didn’t capitalise on this until well over an hour in. Especially as a lot of the horror parts were well done and quite disturbing, although some of the special effects were a bit OTT.
I just find this entire film a little bit meh. It wasn’t terrible, but it’s not particularly memorable either. And whilst I’m sure there’s a message about the fake and judgemental art world, it doesn’t really make for a great film.
Jesters_folly (230 KP) rated Jigsaw (2017) in Movies
May 1, 2021
Contains spoilers, click to show
10 Years after the events in saw 7 (the Final chapter/Saw 3D) a new 'game' has started and a new group of police officers have to try to find out what is happening and who is responsible.
Jigsaw runs to almost the same formula as the previous films , there is a game in progress and the police have to stop it but as well as the game there is still enough of a story to make the film interesting. The biggest difference is that there isn't really the back story in the same way the other films had mainly because, with the exception of John Kramer (the original Jigsaw), we have all new characters. Instead Jigsaw focuses on finding out who the new Jigsaw is or even if it is a new Jigsaw or if John has some how come back from the dead. This is where the film is cleaver, it gives us a number of possible suspects and even makes it seem it may be John.
Jigsaw doesn't seem to be as gory as the previous films, yes you still have people in a game and yes at least some of them loose but there are no intestines littering the ground or close ups on people getting cut in half. Don't get me wrong there is still gore, closeups of the dead bodies and people loosing limbs but it doesn't quite have the same feel to it.
The story aspect to the film is good , as I said, it does leave you guessing to who the killer is although, if you pay attention there are clues. The film also plays with time a bit and, as in the other films, this is used to throw the viewer off track.
Jigsaw is a good entry in to the Saw franchise, as it has a ten year gap from Saw 7 it doesn't get bogged down with the original charters and doesn't get (too) bogged down with the past timeline which was getting a bit muddled (in my opinion) but it does manage to pull from what has gone before and use it further the story.
And that's it, the end of the Saw franchise. OK not quite, at the time of writing 'Spiral, Chapters from the book of Saw' is due out at the cinema (Corona willing) in a couple of weeks and it looks to bigger and better however I probably won't get to see it for a while so, for now, it's time to move onto something new.
Jigsaw runs to almost the same formula as the previous films , there is a game in progress and the police have to stop it but as well as the game there is still enough of a story to make the film interesting. The biggest difference is that there isn't really the back story in the same way the other films had mainly because, with the exception of John Kramer (the original Jigsaw), we have all new characters. Instead Jigsaw focuses on finding out who the new Jigsaw is or even if it is a new Jigsaw or if John has some how come back from the dead. This is where the film is cleaver, it gives us a number of possible suspects and even makes it seem it may be John.
Jigsaw doesn't seem to be as gory as the previous films, yes you still have people in a game and yes at least some of them loose but there are no intestines littering the ground or close ups on people getting cut in half. Don't get me wrong there is still gore, closeups of the dead bodies and people loosing limbs but it doesn't quite have the same feel to it.
The story aspect to the film is good , as I said, it does leave you guessing to who the killer is although, if you pay attention there are clues. The film also plays with time a bit and, as in the other films, this is used to throw the viewer off track.
Jigsaw is a good entry in to the Saw franchise, as it has a ten year gap from Saw 7 it doesn't get bogged down with the original charters and doesn't get (too) bogged down with the past timeline which was getting a bit muddled (in my opinion) but it does manage to pull from what has gone before and use it further the story.
And that's it, the end of the Saw franchise. OK not quite, at the time of writing 'Spiral, Chapters from the book of Saw' is due out at the cinema (Corona willing) in a couple of weeks and it looks to bigger and better however I probably won't get to see it for a while so, for now, it's time to move onto something new.
Hollywood Catwalk: Exploring Costume and Transformation in American Film
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The High School outsider takes off her glasses, puts on a dress, and becomes the Prom Queen; the...
Lenard (726 KP) rated Pet Sematary (2019) in Movies
Apr 9, 2019
A Boston doctor moves his family to what is believed to be a quiet town in Maine. He soon discovers that the town has a secret past and supernatural powers. A good horror movie requires an atmosphere and a good movie based on the book makes you want to read the book to see what was left out. Neither requirement is met in this version of "Pet Sematary." The setting of the atmosphere I may have missed due to longer credits attached to "Shazam" that my gig required me to view. When I entered the theater, the family was already in their Maine house. In the short time I was not there, two things were established, the gas trucks that constantly careen through the town, a ominous sign of accidents to come and the family move to Maine to get away from the hustle of the city. The shadow of death could not have come until I was already in the theater. This aspect of the family dynamic was firmly established later when Ellie sees an animal dead on the road. The titular pet cemetary was also introduced while I was in attendance. The directors did not set up any foreboding specters for the cemetary or the family past, a sign of people in need of paying attention to their own creation. Throughout the film, there should be moments that terrify you from Church to the zombie child to Judd's mysteriously dead wife. None of these approach master level suspense.
Lenard (726 KP) rated Ask Dr Ruth (2019) in Movies
Jun 14, 2019
I grew up on Dr Ruth Westheimer. I wrote a book report on her autobiography in probably middle school. This is how influential she was during the 80s. The new documentary about her life released on Hulu and in select theaters quietly pays homage to this remarkable woman. Much like another short statured Jewish woman who received a documentary last year, Dr Ruth gave a voice to women and power to women in the bedroom. She made it okay to air your sexual problems and get a solution. For a generation, her humor and honesty turned a German girl who escaped the Holocaust and the 1948 Israeli-Arab War into a minor celebrity. I hope people can see this film and appreciate this trailblazer who tirelessly works for feminism (although she is not a feminist) and LBGTQ.
Twin Peaks: Unwrapping the Plastic
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The Lemon Grove
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As recommended on BBC Radio 2 Book Club, Helen Walsh's THE LEMON GROVE is a tense, sensuous and...
Joel Schumacher recommended War and Peace (Voyna i mir) (1965) in Movies (curated)
The Chocolate Lady (94 KP) rated Salmon Fishing in the Yemen in Books
Oct 7, 2020
I promised myself I'd read this before allowing myself to see the movie. I have to say, it was certainly a fun ride, and yet one that I think might make a good film. However, there do seem to be a few things that wouldn't translate.
That said, Torday certainly knows how to write sympathetic characters and put them in interesting situations. This one doesn't tie all the loose ends up at the end, and we wonder what happens with some of these people. That could be a good thing, but I somehow feel this concluded a touch too quickly - and perhaps a nice epilogue would have helped conclude just one or two things that felt a bit too unfinished. Even so, the style is solid and unique - and nothing like the other book of his I read - The Girl on the Landing!
That said, Torday certainly knows how to write sympathetic characters and put them in interesting situations. This one doesn't tie all the loose ends up at the end, and we wonder what happens with some of these people. That could be a good thing, but I somehow feel this concluded a touch too quickly - and perhaps a nice epilogue would have helped conclude just one or two things that felt a bit too unfinished. Even so, the style is solid and unique - and nothing like the other book of his I read - The Girl on the Landing!