What a creepy, unsettling film.
I won’t say much about The Girl On The Train – this is a story that’s best enjoyed with entirely fresh eyes. The only thing you need to know is that it’s about one particularly disturbed woman who takes a train every morning, and the complicated web she soon finds herself entangled in. The film isn’t for everyone: it’s raw, frequently disturbing, and just plain difficult to watch at times. As many have pointed out, it’s also mightily similar to another discomforting film: last year’s breakout hit, Gone Girl.
With its distorted cinematography and claustrophobic camera angles, The Girl On The Train is thoroughly mesmerizing right from its opening frames. I never once checked to see what time it was – and that’s a crowning achievement in this day and age. The film wastes no time, and director Tate Taylor briskly zips from one development to the next. The characters are well defined, and yet the script keeps you guessing at every turn, never allowing you to get a handle on their shifting allegiances.
If this season’s Academy Awards are fair in any way, Emily Blunt will receive a nomination for her absolutely enthralling portrayal of the character at the center of the film. I can’t remember the last time I saw a performance that so bravely brought the intricacies of alcoholism to life, and Blunt does it all without a care in the world (she’s made to look terrifyingly disheveled in almost every scene). It’s a powerhouse performance I wont’ soon forget, and she easily eclipses her co-stars (including Justin Theroux and Rebecca Ferguson).
If I had any complaints, it would be that the ending is a bit of a mess. No spoilers here, but the film’s ending is admittedly somewhat abrupt, Nevertheless, it thankfully doesn’t ascend to the insane shenanigans that plagued Gone Girl‘s resolution, so maybe less is better after all.
A captivating and engrossing thriller with a career-best performance at its center.