Highly anticipated ‘The Girl on the Train’ ultimately derails

By Mike Wilmington

THE GIRL ON THE TRAIN is a chic romantic crime thriller in the “GONE GIRL” mode — but not as engrossing or gripping, nor as packed with interesting characters and wicked plot twists. Mainstream audiences should like it, but most of them probably won’t love it (as they did with the book) or become obsessed with it, the way they might with, say, Hitchcock‘s train-riding masterpiece, STRANGERS ON A TRAIN. Unlike the Gillian Flynn-penned bestseller TRAIN tends to resemble, or the David Fincher-directed suspenser based on Flynn’s book, THE GIRL ON THE TRAIN tends to be more ordinary and less icily compelling.

Writer Paula Hawkins’ bestseller is about a woman whose life falls apart and who becomes a hard-drinking, train-riding voyeur, spying on what she imagines to be the perfect lives lived by the two couples she regularly watches from her commuter train windows. Rachel Watson (played by the eye-catchingly beautiful Britisher Emily Blunt), has lost her husband Tom (played by the disturbing Justin Theroux) to a pretty little blonde, Anna (played by Swedish stunner Rebecca Ferguson).

Macho man Scott Hipwell (Luke Evans) sees his world fall apart when his wife Megan (Haley Bennett) goes missing.

Macho man Scott Hipwell (Luke Evans) sees his world fall apart when his wife Megan (Haley Bennett) goes missing.

Rachel, besides drinking herself silly, also spies on another couple, just a few houses down from Tom and Anna, two others she imagines are leading lives of golden joy: macho man Scott Hipwell (Welshman Luke Evans) and another pretty little blonde, Megan (Haley Bennett).

Also involved in this peeping Tom’s delight of a tale is Megan’s sexy shrink, Dr. Kamal Abdic (played by Edgar Ramirez) – and Rachel’s friend Kathy (Laura Prepon), who’s putting her pal up and forgives all her rotten behavior. Soon Rachel has plunged into what might be a nightmare of infidelity and possible murder.

GONE GIRL was an incredibly clever thriller with an incredibly tricky plot. THE GIRL ON THE TRAIN is not too clever, not too tricky. Director Tate Taylor (who made the humanistic Southern family drama THE HELP) and screenwriter Erin Cressida Wilson (SECRETARY), have changed the background from London (in the book), to New York and the Westchester suburbs, and maybe they’ve lost something in the switch.

Emily Blunt is a real camera-stealer, but her character has been written (at first) as such a pain-in-the-ass, that it’s hard to feel much sympathy for her. The surprise ending isn’t very surprising. Only Danny Elfman’s Bernard Herrmanneque score (justly praised by Hollywood reporter’s Todd McCarthy), achieves excellence in the style department. And only Allison Janney, in a fine sardonic “Law and Order-ish” turn (she’d be a good match for the late Jerry Orbach’s Lenny Brisco) has crafted much of an engaging character.

The screenplay is just about what you’d expect and Taylor’s direction doesn’t rise above the ordinary either. THE GIRL ON THE TRAIN may have been a great read on the airplane (or on the train), but the movie made me want to watch something else, out the window.

Unfortunately, I was in a theater at the time.

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Tense neo-noir ‘Gone Girl’ is the go-to movie this weekend

Gone Girl posterIn the poster for “Gone Girl,” star Ben Affleck stands near a body of water – not a sandy white beach burnished by the sun, but a murky strip of gray bounded by non-descript industrial buildings. A dump, in other words, and just the kind of place that could drive you crazy, especially if the rest of your life isn’t going so great and if your relationship is, well, a bit frayed.

Director David Fincher conveys that strong, vivid sense of place (North Carthage, Missouri) as well as a mood of dour frustration (Affleck’s Nick Dunne is in a strained marriage) within the first few minutes of “Gone Girl,” the much-anticipated neo-noir movie based on Gillian Flynn’s best-selling novel. (Flynn also wrote the script.)

“When I think of my wife, I always think of her head,” Nick tells us. Literally, as he touches her sleek blonde hair, and figuratively: “What are you thinking, Amy? How are you feeling? Who are you? What have we done to each other? What will we do?”

It seems that Nick’s fate is to ponder these questions and consistently come up short on answers. That’s because elegant and efficient Amy (Rosamund Pike), a trust-fund only child from an upper-crust East Coast family, is always several steps ahead of Nick, a good-looking, polite Midwestern guy who fancies that he might one day write the great American novel. They meet in Manhattan, where they both work as magazine writers but, when they lose their jobs, they move back to Nick’s hometown, which has been decimated by the recession.

On the day of their fifth wedding anniversary, Amy mysteriously disappears and Nick becomes the No. 1 suspect. As the drama unfolds, we discover that the answers to the questions about Nick and Amy are far more devastating than we could have imagined.

Flynn’s smart, multi-layered script (which closely follows her book) is just right for Fincher’s capable hands. The film is tense, gripping and darkly funny, and Fincher draws stellar performances from Affleck and Pike as well as Kim Dickens  as the low-key but tenacious lead detective on the case, Tyler Perry as Nick’s slick, smooth-talking defense attorney and Carrie Coon as Margo, Nick’s straight-shooting and sarcastic twin sister.

Gillian Flynn

Gillian Flynn

The plot of both the book and movie eventually becomes fantastic, even absurd. Sticklers for plausibility likely will grumble by the end.

But that didn’t bother me much because I think Flynn’s aim, as outlined on page one, was to raise thorny questions about the façades we present when dating, the fronts we gain from our jobs (or lack thereof), the compromises of intimacy and the unconscious crafting of a joint identity, the waning and waxing distance between two people over time, and the creeping self-denial and even outright lies that sometimes prop up a relationship, not to mention the current state of sexual power and politics. (The “cool-girl” soliloquy, particularly in the book, is downright searing.)

It’s a lot to think about and Flynn makes it entertaining to boot. That said, there is one central flaw to both the movie and the book, and that’s a deep connection, an undeniable, goose-pimply intensity, between Nick and Amy. That needs to be there for the story to work completely and it’s missing – there isn’t much chemistry, let alone a combustible, powerful passion. In establishing Amy as the alpha girl, Nick’s character remains a bit dull and two-dimensional.

Granted, she’s drawn to the good-looking, affable Milquetoast because she can boss him around, but a Type A like Amy would tire of mere arm candy and look for more of a challenge – someone to push back a bit and stand up to her. After all, she appears to be the golden girl with the world as her oyster.

And there are still a few stand-up, take-charge guys out there, right?

“Gone Girl” opens today in theaters.

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