We are proud to be back writing about cinema on our brand-new website and this week we will do by talking about a quite recent movie, now in theaters. It’s “The girl on the train” (2016, Tate Taylor).

This movie’s plot is not really new, because the screenplay, written by Erin Cressida Wilson, known also for “Chloe” (2009) and “Secretary” (2002), is based on the novel of Paula Hawkins which in 2015 has received good reviews and great opinions from the readers.

The genre is a “classic” thriller, so I cannot give away too much on the plot. Set in New York, it tells the story of a woman who is going through a hefty psychological crisis due to the recent breakup with her ex-husband and his new marriage to the woman he cheated on her: as other masters of the genre taught us (read: Stephen King, just to draw the easiest example), there is raw material far enough for a thriller. Due to a serious problem of alcoholism, Rachel (Emily Blunt) lost her work but continues to travel daily by train the same route from her home to the nearest New York City, to satisfy his morbid attachment to life that she used to have by observing it from the train. She also becomes curious about a couple that lives right next to the house of her ex-husband’s new family that she has always wanted to have.

While truly convinced that that couple embodies the perfect love, the gimmick of the thriller is triggered when Rachel notices the woman of the couple along with another man and, after another evening spent in the grip of delusions of drunkenness, learns from the news that the woman is gone. She is also firmly convinced to have seen her the night before and after confessing it to the police…

Why watching it?

If you are just curious to go beyond the above dots and know more, that is enough to enjoy this movie adapted from well-written thriller. It will be a good evening of entertainment.

In addition to the plot (that has not really picked up rave reviews by critics), more than a convincing reason is given by Emily Blunt: she perfectly managed to commune with the main character’s distress and anxious obsessions and convey to the viewer a sense of deep anguish and empathy for a sincere impotence to overcome her crisis.

Who may dislike it?

I personally agree with many other critics on the other characters who played their roles in a bit subdued way (beside, perhaps, Rebecca Ferguson in the role of Anna; Justin Theroux impersonates the pivot of the thriller plot, but it’s not so committed).

No one takes too much to link this movie to another recent thriller by David Fincher, with another overwhelming interpretation of a female character. I am referring to “Gone Girl” (2014) and Rosamund Pike-Amy Dunne: if you are negatively biased by this correspondence, it may be the case that you will be disappointed.

If you have a free night in Lausanne the next weekend, here you can find where & when:

The Girl On The Train @ cineman.ch

(Then, of course, come back and leave a comment 😉)