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Girl on the Train Knocks off Mrs. Peregrine


Why The Girl on the Train is tabloid cinema

I think we go as far back as six months, sometimes not following Rachel at all. But with the film’s release in theaters nationwide this weekend, it might not be out for the entire count.

Sure, my reference point is the novel, so maybe I just had decently high expectations. Turns out, that was definitely the right decision.

The film opens in a similar fashion to the novel, with Rachel (Emily Blunt) riding the train into the city, glancing out the window at the lives of those around her.

To divert her emotional baggage, she developed an obsession to passers by. Rachel imagines them existing in a state of bliss, until she glimpses something that cuts against her sozzled fantasies.

Searchlight, however, believes that the film’s A CinemaScore could lead to robust word-of-mouth, which might help “The Birth of a Nation” draw an audience in the coming weeks. There’s not much more I can say without introducing spoilers into the mix, but the dramatic climax was perfectly paced, shocking and haunting, and was ultimately pulled off superbly on-screen.

Blunt, who essays protagonist Rachel in the film, said in a statement: “The tunnel sequence was really challenging for everybody”. Before heading to the movies, here’s a refresher on the 7 most shocking moments in the book!

But anyway; how actually is the movie? If not for a strong cast – including a memorable performance from Emily Blunt in the lead role – The Girl on the Train probably would have made its debut on cable. I really wasn’t expecting it. “This is not a film about serial killers or spies, these are people who could live next door to you”.

It’s by no means a flawless thriller, though. The book is split into three perspectives and whilst the film tries to use this narrative device, Anna’s development is side-lined and a majority of the narrative falls on Blunt’s shoulders. But as fate and karma have it, the killer gets screwed in the end (both metaphorically and literally). Also, speaking of the ending: it isn’t incredibly satisfying.

Moving the story from London is only problematic when you think of the practicalities of the story.

Granted, The Girl on the Train could never fit into a cable box. But I’m also a big believer in that the experience is the thing.

As Rachel, The Girl in “The Girl on the Train”, Blunt is the glue that almost holds the movie together – but even her solid turn can’t solve the problems of this lackadaisical murder mystery. She is African American, which wouldn’t be worth remarking upon, were it not for the uncommon sight in a Hollywood movie of a black person being frightened by a well-spoken white woman, rather than vice versa. Animations’ Storks, which continues its gentle descent by another 37 percent, finishing the weekend at No. 5 with an estimated $8.5 million ($50.1 million overall). A mere matter of minutes might not seem like an extraordinary amount of time, but when it means the difference between a satisfying and unsatisfying conclusion; it’s a crucially important decision to make. I wanted so desperately for this not to be the case with The Girl on the Train – I wanted it to prove me wrong because the trailer looked promising.