Flicks, Matt Glasby
Rushed to the screen to capitalise on the success of Paula Hawkins’ 2015 source novel, The Girl On The Train appears to have been written on one, juddering to its destination faster than the speed of sense.
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The Girl on the Train
Emily Blunt (Sicario) leads this adaptation of Paula Hawkins' hit mystery novel, from the director of the Oscar-nominated The Help.
Still reeling from her divorce, Rachel (Blunt) gazes outside her train window each day, pausing to consider the lives of the seemingly perfect couple in a house where the commute regularly stops at. But one day, she witnesses something shocking that will lead her down a tangled web of lies, betrayals and murder.
2016Rating: R16, Violence, offensive language, sex scenes and content that may disturb112 minsUSA
MysteryThriller
- Director:
- Tate Taylor ('Get on Up', 'The Help')
- Writer:
- Erin Cressida Wilson
- Cast:
- Emily BluntHayley BennettLuke EvansRebecca FergusonJustin TherouxEdgar RamirezAllison JanneyLisa Kudrow
The Girl on the Train / Reviews
Variety
As a big-screen thriller, The Girl on a Train is just so-so, but taken as 112 minutes of upscale psychodramatic confessional bad-behavior porn, it generates a voyeuristic zing that's sure to carry audiences along.
Full reviewTotal Film
Fortunately, Blunt keeps the film anchored. Playing drunk convincingly is no mean feat, but she cracks it, maintaining our sympathy for a character who has gradually slipped towards becoming a functioning alcoholic.
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Time Out
Despite the occasional shot of piss-soaked knickers, there's something a bit too tasteful about The Girl on the Train.
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New Zealand Herald
Blunt's gutsy performance keeps The Girl on the Train on track while so much is trying to derail it.
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Newshub
I'm disappointed, the overall experience almost pedestrian, and this story is far, far from pedestrian.
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New York Post
It has about as many twists and turns as an L. The third act of a movie shouldn't make you feel as though the first two acts were a waste of time.
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Hollywood Reporter
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 un-dimensional as to invite no curiosity about them.
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