Sometimes, you just got to make public transportation a little fun.
Rachel Watson (Emily Blunt) takes the train to New York City each and every day and has a lot of time on her hands to do, well, lots of stuff. For one, she likes to drink. She also likes to think about stuff and, on occasion, make-up things in her head. But one thing she loves to do is watch a couple, Megan (Haley Bennett) and Scott (Luke Evans), from her train seat window every morning, from the window of her train. However, her life is thrown for a wild loop when, all of a sudden, Megan is with some other man (Edgar Ramirez) and not her husband. And then, it gets even crazier when Rachel finds out that Megan’s missing and Rachel herself could be the prime suspect. But why? Well, because Rachel’s ex-husband (Justin Theroux) and this new wife (Rebecca Ferguson) live literally right around the corner, Rachel, in drunken, jealous stupors, will find herself around the neighborhood, acting out in certain ways that most adults like her shouldn’t be doing. Now though, with the investigation against her, Rachel has to think long and hard about what she remembers and what she made-up in her mind, while also figuring out the truth of Megan’s whereabouts.
Who’s baby is that?!? Mystery!
The Girl on the Train is trying so hard to be Gone Girl that it’s actually kind of sad. Here’s a movie that, despite so much plot, could have honestly been an enjoyably wacky, over-the-top romp, just like Gone Girl. Instead, it’s rather drab, dark, serious and not nearly as crazy as it should be.
Which is also to say that Tate Taylor is no David Fincher. Believe it or not.
But honestly, the problem with the Girl on the Train is that, aside from it so desperately wanting to like that Fincher classic, it also doesn’t really know what to do with itself for a solid majority of its running-time. For the first hour or so, we’re watching our main protagonist, Rachel, live a pretty miserable and depressing existence – one that’s full of alcohol, wild dreams, and unrequited love. In a way, it’s actually very serious and heartbreaking, but aside from maybe one scene of an actual, full-out breakdown, the movie never gets as deep as it should about her mental and psychological issues and where it all came from. Rather, the movie uses her anguish and pain as a plot-device, to give us more and more characters, more conflicts, and most importantly, more and more unnecessary twists and turns that, after about fourth or fifth one in a minute, gets a tad annoying.
And really, all of the problems with copycatting Gone Girl would have been fine, had Girl on the Train tried to at least bring some real, honest characters to the forefront; most of them are just created for the sole sake of being a plot-device, or a twist that can eventually kill them off, or show that they’re not exactly as who they should be. Although, as is the case with Edgar Ramirez’s psychiatrist character, some characters hardly serve any purpose whatsoever – they’re just hot, sexy and attractive window-dressing to a movie that’s as mean-looking as you can get.
No. Not a leftover scene from the Leftovers. Although, I honestly wished it was.
Ramirez isn’t the only one who, unfortunately, doesn’t get a whole lot to do. The whole ensemble, as talented as they all are, are saddled with material that doesn’t allow for them to really reach deep, or far dramatic heights – instead, they just have to settle and live with the results. As said about Rachel before, she’s a deeper character than the movie gives her credit for, even if Emily Blunt tries all that she can to not only make her look ugly and disgusting (as much as Emily Blunt can look “ugly” and “disgusting”), but really, the character feels like a missed-opportunity. Same goes for Rebecca Ferguson and Haley Bennett’s characters who, despite getting some semblance of personality and emotion, are also meant to be plot-points.
The boys don’t fare any better, either.
Justin Theroux does what he can as the ex-husband, while Luke Evans does his best hard-Brooklyn accent, despite being a character that lives in the New York suburbs. Only the wonderful Allison Janney really gets a chance to shine with this material and it’s not only a testament to her true talent as an actress, but also a nice bit of excitement in the first hour or so. Because honestly, for the first hour, the movie can be quite a bore – laboring on certain parts of the plot that don’t matter, never picking up the pace, and giving us a mystery we already know the solution to.
That said, it does pick itself up after the hour-mark and thankfully, it’s where the Girl on the Train becomes, surprisingly enough, “fun”. Granted, it’s still not nearly as fun to watch as Gone Girl and it sure as hell doesn’t improve on its issues with its character, but it eventually starts to realize that there can be some wild times had with these weird characters, the sexy tone and feel that Taylor sometimes gives off, and most importantly, the fact that we’re here to watch a bunch of hot, sexy and attractive people bone and deceive one another. Sometimes, that’s all you need with a movie and here, with the Girl on the Train, while it takes forever to get to that part, I’m glad it eventually did.
Because if it didn’t, honestly, it would have been a waste of everyone’s time. Most importantly, my own.
Consensus: Despite trying desperately hard to capture the same excitement and craziness as Gone Girl, the Girl on the Train never quite gets moving, despite a good cast and a promising premise, chock full of twists, turns, mysteries, and surprises that are, honestly, a little too obvious to be shocked by.
6 / 10
You see a lot from public transportation. Maybe not someone’s home life, but hey, dare to dream, eh?
Photos Courtesy of: Indiewire