Blunt Instruments: "The Girl on the Train" Review
"A divorcee becomes entangled in a missing person's investigation that promises to send shockwaves throughout her life."
Directed by: Tate Taylor
Written by: Erin Cressida Wilson (Screenplay)
Paula Hawkins (Novel)
Starring: Emily Blunt
Haley Bennett
Rebecca Ferguson
Justin Theroux
Luke Evans
Edgar Ramirez
Tate Taylor's fourth directorial effort highlights more than ever, that the biggest problem I have with his films: They're manipulative fluff anchored by a great performance. Sometimes multiple as seen in the saccharinely triumphant "The Help." His style doesn't make for a bad film but it doesn't end up in anything memorable aside from his actors. This film is no different but this is 100% the Emily Blunt show. It's impossible to talk too much about this film without spoiling it somewhere so the bare bones of it is Blunt's Rachel is divorced from Justin Theroux's Tom. Tom cheated on her with Rebecca Ferguson's Anna and they now live in Rachel's old house. Their neighbors are the seemingly perfect couple, Megan (Haley Bennett) and Scott (Luke Evans). Rachel, now a debilitating alcoholic, rides past this neighborhood everyday for work and fantasizes about what it would be like to be Megan while trying her hardest not to look in the window of her former home at Tom and Anna. One day, Rachel sees Megan cheating (possibly), blacks out and ends up at home covered in blood and bruises. Megan is missing and Rachel is a potential suspect. Got all of that? Great. Because as convoluted as that sounds, the one thing Taylor does well is make this trying-too-hard of a plot stunningly simple. It's impossible to get lost here, it's murder mystery for dummies. That's not to say it's a bad film though, far from it. If you've ever seen a shitty lifetime original movie, then you've seen this movie. The catch is that this is extremely well made and never feels quite as trashy as one of those flicks despite displaying some goddamn dumpster fires of human beings.
The best thing about the film is Emily Blunt, no contest. Blunt has always been a strong actress but but she's unreal playing an alcoholic divorcee slowly slipping into madness. She gets a double dose of pain every day as she goes past her old neighborhood and within that pain she's granted even more of it because she's seeing two different lives that she craves. One being the fantasy of Megan and Scott's idyllic life, the beautiful couple who seem to make love at all hours of the day and the other being Anna and Tom, the life that could've been hers if Tom hadn't left her. It's heartbreaking not only because she's an alcoholic or because she's been jilted for another woman but because she's going absolutely mad over these things. This isn't a stable woman and the alcoholism is only the tip of the iceberg. She's completely delusional and never once can you really see where she's coming from. You may have dreamt about the ideal life or seen a couple and thought "That's what I want" but never at the level of what Rachel is going through. When she's not showing up on the doorstep of her old home, she's becoming enraged at the idea that her completely made up life for Megan and Scott could be evaporating. Blunt's performance belongs in another film entirely. She's world class against an entire cast (of generally good to great actors) who couldn't feel further away. I promise you, you've never seen someone playing an alcoholic like this. She tears the screen down with her intensity, burning with red, flushed cheeks, bloodshot eyes and snot and tears dripping down her face. It's a performance that could've veered too far into exploitative (and in many ways the writing takes it that direction) but Blunt manages to corral everything into one of the best performances you'll see this year. It's a shame that she's not in a better movie because she'd be Oscar nominated if she were.
The best thing about the film is Emily Blunt, no contest. Blunt has always been a strong actress but but she's unreal playing an alcoholic divorcee slowly slipping into madness. She gets a double dose of pain every day as she goes past her old neighborhood and within that pain she's granted even more of it because she's seeing two different lives that she craves. One being the fantasy of Megan and Scott's idyllic life, the beautiful couple who seem to make love at all hours of the day and the other being Anna and Tom, the life that could've been hers if Tom hadn't left her. It's heartbreaking not only because she's an alcoholic or because she's been jilted for another woman but because she's going absolutely mad over these things. This isn't a stable woman and the alcoholism is only the tip of the iceberg. She's completely delusional and never once can you really see where she's coming from. You may have dreamt about the ideal life or seen a couple and thought "That's what I want" but never at the level of what Rachel is going through. When she's not showing up on the doorstep of her old home, she's becoming enraged at the idea that her completely made up life for Megan and Scott could be evaporating. Blunt's performance belongs in another film entirely. She's world class against an entire cast (of generally good to great actors) who couldn't feel further away. I promise you, you've never seen someone playing an alcoholic like this. She tears the screen down with her intensity, burning with red, flushed cheeks, bloodshot eyes and snot and tears dripping down her face. It's a performance that could've veered too far into exploitative (and in many ways the writing takes it that direction) but Blunt manages to corral everything into one of the best performances you'll see this year. It's a shame that she's not in a better movie because she'd be Oscar nominated if she were.
How's the rest of the cast? Fine. Haley Bennett and Rebecca Ferguson round out the other two leads and both are in the midst of breaking out as big stars. Bennett is also currently onscreen in "The Magnificent Seven" but is thankfully given more to do here. Conversely, Ferguson who was terrific opposite Tom Cruise in the last "Mission Impossible" is left out to dry more often than not. Bennett plays Megan as fairly reserved. You never really see a wide range of emotion from her. It makes sense in the bigger picture because she's the fantasy for Rachel. She's the blank slate that Rachel (and the audience) can project onto. Her vacant, distant stares and dissident voice works well for that but it's a shame that she isn't a real person. She's a prop to propel the story along. She's there to give everyone else in the film purpose and it's kind of sad to see a woman with a deep sadness under her vacant face used to give everyone else a character. There's never a real chance to care about her. Ferguson's Anna is such a nothing role. Playing next to Tom Cruise, she really broke out and held her own matching his intensity and charisma. Here she plays a stereotypical nagging wife with a harsh face and it's just sad. She's a good actress stuck delivering flat lines while she holds a baby. The men barely register. All three (Theroux, Evans and Ramirez) are capable actors but none of them are given much to do. Theroux plays the smarmy, cheating ex-husband and does adequately, Evans simmers as the handsome husband to Megan then sulks and grimaces as she goes missing and Ramirez sounds and looks like he's falling asleep through the film. Normally when three actors that I know can deliver are given nothing to work with I'd be pretty annoyed but this is very much a film about women. It's actually kind of nice to see the men as the flat characters in service to the women for once. It's just a shame two out three of the women are also one note characters.
What really bothers me the most here is the treatment of women. There's a ton of abuse (physical and emotional), gas lighting and some gross mistreatment of alcoholics. It wouldn't bother me if this actually addressed any of that. It's definitely a generic "The Evil That Men Do" kind of story and there's a nice, tight bow on it at the end but none of it feels earned. The ending is painfully rushed and there's never a feeling of catharsis. You watch these dudes take advantage of weakened women and yes there is a resolution but again, it's not really worth anything when you don't care about two of the women. Megan is given a bit of a backstory but it's all sort of glossed over. You see her in moments of pain but she's stark naked through most of the film and it's never shot like a woman suffering but instead lingering on her body. I'm not against nudity by any means but a film like this that's definitely trying to make a statement goes about it so wrongheadedly. There's nothing "sexy" about the suffering Megan is going through and it's pretty irresponsible to shoot her as if it is. This is a film doing its best to be a "classy" flick not a schlocky horror film where that sort of thing is maybe forgiven. Maybe. It's such a shame because this could've been a bold film about women overcoming the stereotypes surrounding them. Rachel, the alcoholic is presented as a monster. She is in certain ways but her alcoholism is a mixture of being manipulated by men and then feeling like she can only function with a man. Megan's free spirit bounces from man to man to man and is essentially punished for it. And Anna is just the "harpy" wife/mom. All three of them are reactions to shitty men and none are better for it. I'd have love to have seen a meditation on alcoholism, the double standard of men cheating and women cheating or motherhood. It isn't that type of film, sure but man does it want to be. One of those would have been serviceable. Instead we're given a standard thriller that works as a dumb film but that's about it.
It may sound like I'm complaining but I honestly had fun with this one. It's clocks in at right under 2 hours so by today's standards it's a breeze. It's filmed with some great flair and cut together at a nice clip which means it's never boring. It all comes together in a fairly predictable manor and you won't be upset you saw it. If you liked any of Tate Taylor's other films then you'll probably enjoy this. It's just as manipulative as his other films as it tells you where it's going one step before it does and holds your hand, never trusting you to "get" it. This is getting some comparisons to David Fincher's criminally underrated "Gone Girl" and in ways that's fair (Missing "girl", twists and turns) but it could not be further from the truth. Fincher's film wasn't interested in standard genre conventions and it certainly had a lot to say. That film was a searing takedown of the 24 hours news cycle and the toxic culture that surrounds real world tragedy. Its ambiguous, frustrating to many ending further pushing home the narrative that we never really know the true lives of our neighbors despite what the media pumps into our heads. This film says nothing interesting, does nothing new and wraps it all up tightly. If you want a light night out at the movies (this plays very well as a date movie, many couples were chattering about it as the credits rolled) then I'd say check it out. If you liked "Gone Girl" but were upset by the ending then you'll probably like this.
What really bothers me the most here is the treatment of women. There's a ton of abuse (physical and emotional), gas lighting and some gross mistreatment of alcoholics. It wouldn't bother me if this actually addressed any of that. It's definitely a generic "The Evil That Men Do" kind of story and there's a nice, tight bow on it at the end but none of it feels earned. The ending is painfully rushed and there's never a feeling of catharsis. You watch these dudes take advantage of weakened women and yes there is a resolution but again, it's not really worth anything when you don't care about two of the women. Megan is given a bit of a backstory but it's all sort of glossed over. You see her in moments of pain but she's stark naked through most of the film and it's never shot like a woman suffering but instead lingering on her body. I'm not against nudity by any means but a film like this that's definitely trying to make a statement goes about it so wrongheadedly. There's nothing "sexy" about the suffering Megan is going through and it's pretty irresponsible to shoot her as if it is. This is a film doing its best to be a "classy" flick not a schlocky horror film where that sort of thing is maybe forgiven. Maybe. It's such a shame because this could've been a bold film about women overcoming the stereotypes surrounding them. Rachel, the alcoholic is presented as a monster. She is in certain ways but her alcoholism is a mixture of being manipulated by men and then feeling like she can only function with a man. Megan's free spirit bounces from man to man to man and is essentially punished for it. And Anna is just the "harpy" wife/mom. All three of them are reactions to shitty men and none are better for it. I'd have love to have seen a meditation on alcoholism, the double standard of men cheating and women cheating or motherhood. It isn't that type of film, sure but man does it want to be. One of those would have been serviceable. Instead we're given a standard thriller that works as a dumb film but that's about it.
It may sound like I'm complaining but I honestly had fun with this one. It's clocks in at right under 2 hours so by today's standards it's a breeze. It's filmed with some great flair and cut together at a nice clip which means it's never boring. It all comes together in a fairly predictable manor and you won't be upset you saw it. If you liked any of Tate Taylor's other films then you'll probably enjoy this. It's just as manipulative as his other films as it tells you where it's going one step before it does and holds your hand, never trusting you to "get" it. This is getting some comparisons to David Fincher's criminally underrated "Gone Girl" and in ways that's fair (Missing "girl", twists and turns) but it could not be further from the truth. Fincher's film wasn't interested in standard genre conventions and it certainly had a lot to say. That film was a searing takedown of the 24 hours news cycle and the toxic culture that surrounds real world tragedy. Its ambiguous, frustrating to many ending further pushing home the narrative that we never really know the true lives of our neighbors despite what the media pumps into our heads. This film says nothing interesting, does nothing new and wraps it all up tightly. If you want a light night out at the movies (this plays very well as a date movie, many couples were chattering about it as the credits rolled) then I'd say check it out. If you liked "Gone Girl" but were upset by the ending then you'll probably like this.
VERDICT
A tense, fast paced thriller that holds your hand and coddles you but still twists just enough to be interesting. You won't come away feeling like you've witnessed anything new or bold but it speeds along at just a quick enough pace that it's a decent night out at the movies. It's definitely enjoyable but a frustrating example of a film that could've done and said so much more. If nothing else, see this for Emily Blunt's brutally sad portrayal of an alcoholic spiraling down the drain. She's an absolute force in a film that really doesn't deserve her. It's a career best for her and should not be missed despite the weak threads around her.
6/10
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