Taglines: What did she see?
The Girl on the Train movie review. For Paula Hawkins’s 2015 bestselling novel, The Girl on the Train, it would not be wrong to say that “it was one of Hollywood’s radars as well.” The transition from young adults to psychological tensions in the blink of an eye to adapt the books to the cinema took place.
Although I do not want to make an unusual introduction as much as possible, it is expected that the adaptation of the novel called ‘new Gone Girl’ will be ‘the new Gone Girl on the screen’. Although faulty suburban relationships and possible losses form a common point, we have to cut the comparisons immediately without waiting, without waiting, for both story and directing.
We are in the days when Rachel, who gave herself alcohol and was fired after her divorce, spent her days on the same train, on the same seats, with round trips. On its flask, its vodka is staring at the lives of other people. Especially obsessively attached to a house because the owners of the house think Megan and Scott are the definition of happiness. The happiness that Rachel has never achieved… An infidelity that she has witnessed from time to time, and the loss event that took place right after, makes Rachel both a witness and a defendant. Let’s add a little ‘negative benefits of being alcoholic’ sauce on this.
The general feature of this type of novel is to be ‘cheap’. However, The Girl on the Train has a grossly absurd side as far as linking the main characters. Megan’s house, which Rachel admires and will be the Gone Girl of our movie, and Rachel’s old house are adjacent. The divorced ex-husband lives in this house with his new wife. Since the reason for the divorce is ‘alcoholism caused by not having a child’, we also have a baby in Rachel’s old house.
In fact, he can not make his train journeys so long and lean on two suburban houses plus two gardens that contain them, making his job easier. Let’s add that the rails can take both houses from the distance to the viewpoint and those who live in these houses love to live every moment of their lives without lowering the curtains or blinds.
The film, which chooses the perspective of women as a guide with its unquestionably accurate selection, is actually very promising with its introduction that it introduces all three women and makes them effective with external voice. If it continues in this way, the suspicion that can be sorely binding becomes a captive of ‘trying to remember what happened last night’ when suddenly turned into a single woman. However, Rachel is not the only tides and disappointed.
Unfortunately, director Tate Taylor cannot achieve what she thinks she will accomplish with her abundant flashback and episodic narration that she drowned… day after day’. The effort to create curiosity, which is added to the effort not to leave the smallest question mark, is at the level of the mediocre psychological tensions of the 90s. The ‘criminal’, who shows himself well from the second half of the film, cannot believe that he can ‘do what he does’ despite the bad image imposed on him. It is hard to believe that there is such a fine line in bad habits and the transitions between them.
Taylor, who noted that he collaborated with the actresses in The Help, is still not misled. Emily Blunt’s acting ‘too’ for this movie is like an oasis in the desert. I am sure that when he sees the movie, he will say ‘this was not my dream’. Still, there is no doubt that they will be remembered as a good trio with their supporters Haley Bennett and Rebecca Ferguson. Although I don’t want to make a usual closing as usual opening… ‘New Gone Girl? Don’t make us laugh!’
All about The Girl on the Train movie.
The Girl on the Train (2016)
Directed by: Tate Taylor
Starring: Emily Blunt, Luke Evans, Rebecca Ferguson, Haley Bennett, Laura Prepon, Justin Theroux, Allison Janney, Lisa Kudrow, Hannah Kurczeski, Lana Young, Jalina Mercado
Screenplay by: Erin Cressida Wilson
Production Design by: Kevin Thompson
Cinematography by: Charlotte Bruus Christensen
Film Editing by: Michael McCusker
Costume Design by: Michelle Matland, Ann Roth
Set Decoration by: Susan Bode, Judy Gurr
Art Direction by: Deborah Jensen
Studio: Universal Pictures
Release Date: October 7, 2016
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