“What Happened That Night In The Tunnel?”
Much like the unreliable UK train service in out current state of affairs, this review comes somewhat a little late to proceedings in contrast to our usual disciplined services, due in part to my reluctance at seeing the big screen adaptation of The Girl on the Train, the ridiculously popular novel published last year and written by author Paula Hawkins, a novel in which I came to thinking it was something completely different, a novel which was indeed gripping in places but ultimately felt like a jumped up Midsummer Murders with an added slice of spice in order to fit in with the literary era of a novel such as Fifty Shades of Grey. Although book reviews aren’t a speciality of Black Ribbon just yet, Tate Taylor’s cinematic adaptation was somewhat something of a mystery on the face of it. Coming to the movie being well aware of the plot, it could have been an utter bore, yet with a cast that boasts pedigree left, right and centre, The Girl on the Train isn’t exactly remarkable, it’s just straightforwardly solid, featuring a stand out performance from Emily Blunt and sticking so close to the source material of which had the inherent problems the film contracts onto the big screen.
Where the film succeeds is in the casting of Blunt in the lead role of Rachel, who takes to the challenge of giving her all to the max, swaying in a drunken mess throughout most of the movie, unaware of her actions and the consequences that are the cornerstone of the movies’ mystery, whilst The Magnificent Seven’s Haley Bennett also deserves a mention for the conflicted Megan Hipwell. Aside from the movies’ two leading ladies, The Girl on the Train features a rafter of one-dimensional male characters, with Luke Evans and Justin Theroux being portrayed as sex/power hungry misogynist pigs, a cold portrayal of humanity in a film similarly cold and lifeless without much dramatic effect to keep it entertaining. Aside from characterisation, The Girl on the Train suffers from having the same problem as the novel; it’s just not that groundbreaking. Sure, as a two-part ITV drama it may have succeeded, yet on the big screen, Tate Taylor’s latest isn’t anything apart from good and for a film with such a cast list, I expected more.