Emily Blunt starred as Paula Hawkins’ best-selling fractured protagonist: a broken thriller of soap opera, gender, buzz, violence, and Northeast sympathy.
It may seem silly to continue this, but the main reason we go to the movies (film noirs, gangster drama, prostitution romantic thrillers) is to escape the illusion of taboo behavior. The content (sorting) of the image is a plot, but otherwise, it is just an excuse. Sitting there in the dark and staring at the screen, we want to be that secret lover, that dangerous junkie, that stylish slave-hunter, the one who wants emotional guilt. “The Train of the Train“, Paula Hawkins’ old-fashioned but heavily breathtaking 2015 best-selling acclaim is a murder mystery, and in many ways, the most common theme of the film. Director Tate Taylor (“Help”) portrays it as a growing vignette where three women, all of whom live in the New York suburbs of Ardsley-Hudson, express their forbidden desires and secret inner life. As a big-screen thriller, “Girl on a Train” is exactly the same, but if you take the 112-minute high-level psychodramatic confession abuse as porn, it’s sure to keep listeners side by side.
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The title character, Rachel Watson (Emily Blunt) is a complete wreck – and from the start, it was one of those haunting fantasies. (You understand what rock hitting is!) When we met him, he boarded a train from Manhattan’s Grand Central Terminal, fixing on a woman he did not know – Megan Hipwell (Hayley Bennett), an elegant cornflaw blonde. Standing on the veranda on the second floor of her rich country house, over the rails, she looks like a woman who has everything. Rachel is the woman who lost everything. She married Tom (Justin Trox), a defensive shark, and they were in the middle of introducing the perfect suburban presence, but she never got pregnant and was always drunk. In the flashback, the film highlights our strategy, anger, and blackouts, all of which highlight the identity that Rachel now occupies: isolated divorcees, sitting on a train, and sipping cheap vodka from her designer water bottle. He was a far-flung alcoholic and blunt, acting in a deadly impressive performance, with a cold, dull hue that his facial features seemed to slowly disintegrate.
Rachel is unaware that Megan has nothing to do with her identity. But oh, are they connected! Everyone is connected to “The Girl on the Train“, the film is consistent with small town-soap-opera quality. Think of “Python Place” as the venue for Adrian Lane’s “deadly attraction”. The characters are also deliberately liking to look at something. Megan, the former subject of the art-gallery scene, works as a nanny for Anna (Rebecca Ferguson) of the unstoppable jungle stream with the same angelic melody and sweet skin tone (hence the ‘Hell of Trouble of Barbies Trophy Wife’). This ‘Deadpan’ part of the movie makes sense in the sense that it seems to belong to the same tribe of postfamest Stepford princesses.
Anna is the woman who stole Rachel’s husband (he lives as Rachel wants) and this drives Rachel Kokil out of self-loathing. Blunt’s acting is a musical revelation, but she is also a very sensitive and lyrical actress, who also gives sympathy for the actions of Rachel Lobby. Although we are considered addictive destroyers of personality disorder at the border, we cannot help it. At one point, she stands in the bathroom, smells with lipstick in the mirror, expresses anger as she sees her ex and this is the catalytic moment.
Taylor did a great job directing “The Help” using her sympathetic identities with women on screen to save her from another racist message film, and here she works from a script by her curious friend Erin Cressida Wilson (“editor”) and the wonderful Charlotte Bruce Christensen. Using cinematography, he showed a similar tendency. “Train Girl” is a sexy, brutal, diary-of-mad-housewife crap created with the sympathy of a particular creamy class. When Megan announces that she has worked in the gallery and that she needs to leave the nanny position, that day when Anna and her baby are left in an important position, both are sitting at home, mom, and this becomes the first contemporary noir. There will be an in-depth recipe conversation about this. This is the scene where the spots are reset.
“Train Girl” is based on the Hudson Valley suburban quiet home-beautiful fetishism, and you sometimes feel like you’re watching “Pottery Burn Catalog: The Movie”. Although for a moment we seem to be caught in the spin of “deadly attraction” the feminist protagonist is impressed. How badly does Rachel work? She sees the beautiful house in her passion, where Tom and Anna live (this is her paradise, she was evicted) and leave their child in the yard pretending she has no children. He drinks like a homeless quarantine, inviting passengers to move the train. In fact, he was almost homeless: he had been lying on a friend’s proposed extra bed for two years, and the reason he joined travelers going to Manhattan every morning had nothing to do with the bar where he had a PR job. It all happens when the mysterious Megan kisses a stranger and betrays her husband. Just like the betrayal with Rachel! In a very short time, she came back to a deep night, now that she was noisy, Megan covered her hair and clothes with blood and mud and disappeared that night. Rachel actually blocked what had happened, but she chased after herself with a picture of Megan approaching.
As a novel, “The Girl on the Train” is consistently told by unbelievable storytellers, and is part of her post-Gone Girl “shattered anonymity.” It looks different: we’re shown a lot of stuff, so we’d believe it, but what we’d shown didn’t actually happen. Seems very probable, but the reason for this seems to be that the local police, led by Allison Jenny, an all-time sharp and charismatic detective, are better at random hunting than forensics.
Blunt, who sheds tears (or maybe screams) to look like halfway through her scene, is an enlightened actress, she needs her little outfit, and a character who can minimize this. It should eventually improve its stars. As reliable as “Train Girl” received – a Borderline camp, a man, two women and a kitchen character – yet the film had enough plot and crafted with enough craft, disguised (for a while) midnight. -Triller mechanics will eventually make it a success. It has a hidden dark life, so connecting to the box office is not a problem. According to the population, such a film fills the niche needed for female cinema travelers and they enjoy every hidden, ridiculous moment. But the same listeners also need to understand that in the end a polite woman deserves to be better than a sighted hunting gear.
‘The Girl on the Train’ Movie Review:
Read More: No Time to Die release date
Reviewed in a screening room in Bryant Park. MPAA Rating:
Production: A DreamWorks, Reliance Entertainment unveils Universal Picture of Mark Platt Productions.
The producer is Mark Platt and Jared LeBoff.
The Executive Producer is Celia de Costas.
The Director is Tate Taylor.
Screenplay is Erin Cresida Wilson.
Camera (color, widescreen): Charlotte Bruce Christensen. Editor: Michael McCasker.
Crew With: Emily Blunt, Hayley Bennett, Rebecca Ferguson, Justin Trox, Luke Evans, Edgar Ramirez, Allison Jenny, Lisa Cudro, Laura Prippen.
By Music:
