The novels take to be an inspiration for the film from shortly after birth. Fads come and go, but literature persists as the source of all kinds of films, from authentic masterpieces to teasing. This is due in part to readers, it is normal that the producers turn their attention to books that have swept sales whatever their actual level.
In the case of ‘The Girl on the Train’ have not been necessary even two years since its publication for its film adaptation comes to theaters. It does so accompanied by a halo of being the new ‘Lost’ ( ‘Gone Girl’), with which it shares several elements, but not the most important, since the tape Tate Taylor based on the novel by Paula Hawkins is one rather weak proposal that only stands the remarkable work of Emily Blunt.
A badly shaken cocktail
It is clear that one of the great attractions of many thrillers is to solve the mystery raised. No longer a need to capture the interest of the viewer, who, as appropriate, will focus on trying to be the smartest in the class or simply let go and accept whatever they want to sell game. There are many intermediate stages between the two options, but the end is the ability alluring own story which plays a key role in this respect.
With ‘The Girl on the Train’ we have a crime in which he is flirting at all times with the possibility that the protagonist is the responsible. Its sorry state, both physical and above all psychological – all perfectly reflected by a Blunt Emily who may not respond to the description of the character in the novel, which compensates immersing himself in the problematic personality Rachel helps think about it.
However, clear that everything has to be more complicated than it seems and that is where the problems come because all parallel to that of the protagonist frames are monotone of inputs, lack any kind of shine on her – nor development never try too hard to give them the necessarily entity and there comes a point where they fall more or less sharply in ridicule. Blunt does what they please to compensate, but not enough.
A little further back mentioned ‘Lost’, a film whose plot evolution you can put all the drawbacks you want, but an undeniable thing is that David Fincher had a very clear vision of history and did not hesitate to take it to his last consequences. For my part, that was so essential or more than the turns of history or the splendid work of its two protagonists to catch me and not letting go until the appearance of the end credits.
I confess I did not have much hope that Taylor was capable of it, but in providing a visual solvency that would allow other elements glisten. At that point I found more or less what I wanted -in cluyo here the proper use of closed to influence the anguish of the protagonist, staying clear which is one of the biggest problems of ‘The Girl on the Train’ plans: It is a mixture bad telefilm with Alfred Hitchcock and Agatha Christie, the more the first than the second, and to conceal better needed a dose of extra energy from the staging here absent.
That means that ‘The Girl on the Train’ is visually as correct as anodyne, while the script Erin Cressida Wilson spends too much above the most lurid and gory narrative details, those who could have taken the film to another level although it could be similar to doubtful thrillers of the ‘ 90s that emerged after the success of ‘basic Instinct’ – instead of openly embrace mediocrity. What good is the freedom to go public if adult oriented then you take advantage and never fall into the monotony?
‘The Girl on the Train’, a mystery no spark
Yes I must thank you ‘The Girl on the Train’ is not limited to assume the own formula of television procedural when addressing the evolution of mystery, but that does little when everything ends up being implausible, absurd or directly demented. The options were to embrace the seriousness and delve into it or bet on ridicule as a weapon to conquer the public. Anything worth me so that at least outside entertaining which is-not.
It does neither one nor the other, destroying any possibility of the other cast members can do something interesting with your character s. That ends up being the final sentence of ‘The Girl on the Train’ because it sure has a group of actors who have managed to arouse some curiosity in the most leery of a proposal of this nature spectators. If that is your reason to see it, come to any other room, including the forgettable ‘Accountant’ ( ‘The Accountant’).
With this I do not mean that Rebecca Ferguson, Justin Theroux, Luke Evans, Edgar Ramirez, Allison Janney and Haley Bennett do wrong -they do what best they can, especially Bennett, who is the one that has more space to deepen their Megan, but where no one can not take anything-but that the definition of his characters is so poor that simply never care about.
It is true that they help to give greater richness to the protagonist in some cases, like Laura Prepon, their presence does not go beyond that- and playing a role more or less prominent in the investigation, but never go beyond the archetype needed to build the story, even when their real motivations are revealed. They are empty characters and not infrequently act more depending on the needs of the story that a credible way from a human perspective.
In addition, there comes a point where the unnecessarily complex way of putting the story – there constant jumps in time and several changes of point of view option only leaves a unique way to make everything fit. When you comes to mind you’re tempted to dismiss it so unsatisfactory that it is in your head, but the film no doubt continue in that direction for your despair. Here grateful to have a crazy final twist, because at least had encouraged a routine proposal can not understand how has captivated so many millions of people.
In short, ‘The Girl on the Train’ is a lost film in mediocrity and in which only the expertise of Blunt motivates not directly say it is bad. Everything around flojea, in some cases inability to do anything else and others for lack of desire to do so.Not clear that these ingredients could have given way to something as fascinating as ‘Lost’, but what is barely gives a hobby to see on a bus trip in which the awkwardness of your situation makes you look out less in its numerous problems.
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