Her transformative persona makes Rachel the most compelling of the three “unreliable narrators,” as the film tells its story from the differing perspectives of three troubled suburban women. Could it come for “Girl on the Train” by elevating 2 1/2-star material with a 4-star performance?Īt the premiere, Blunt called it the most “ultimately satisfying part” she’s ever played. With five Golden Globe noms and one win, she is long overdue for an Oscar nod. Her slurring, staggering turn is all the more impressive considering she couldn’t drink any actual booze during her real-life pregnancy, sipping faux vodka from a water bottle with mascara dripping around bloodshot eyes via contacts.īlunt is on fire, crossing genres ranging “The Devil Wears Prada” (2006), “The Young Victoria” (2009), “Salmon Fishing in the Yemen” (2011), “Edge of Tomorrow” (2014), “Into the Woods” (2014) and “Sicario” (2015). Much of this is due to Blunt, who’s utterly convincing as the blackout drunk who can’t remember her actions and who’s heartbreaking in her apologies at A.A. Yet despite all this, I still enjoyed the trashy hell out of it. The presentation is far more fragmented, the framing far more gimmicky, the twists far more predictable. While the plot sounds like “Rear Window” (1954) meets “The Lady Vanishes” (1938), don’t expect the masterful Hitchcock touch just yet. Gazing out the window, she becomes obsessed with a seemingly perfect couple next door, Scott (Luke Evans) and Megan (Haley Bennett), only to witness a clue to a mysterious disappearance. Relocating the setting from London to Westchester County, New York, the film follows an alcoholic divorcee named Rachel (Emily Blunt), who rides the train every day past her former suburban home, where her ex-husband Tom (Justin Theroux) lives with his new wife Anna (Rebecca Ferguson) and their baby. Now, get ready for this year’s offering: The much-anticipated “The Girl on the Train,” which like Gillian Flynn’s “Gone Girl,” is based on a best-selling mystery novel in Paula Hawkins’ pulpy page-turner. In 2013, it was Denis Villeneuve’s nail-biting “Prisoners.” In 2014, it was David Fincher’s shocking “Gone Girl” (2014). And last year, it was Lenny Abrahamson’s claustrophobic “Room” (2015), which featured just as much suspense as Alex Garland’s sci-fi thriller “Ex Machina” (2015) earlier that year. WASHINGTON - Call it a seasonal film industry trick, but it’s a treat knowing that each fall, as the wind cools and the leaves change, a thinking-person’s thriller will dare us to outguess its material after a summer of mindless superheroes. Business & Finance Click to expand menu.
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