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The Girl on the Train

Thriller . Mystery

Rachel Watson, an alcoholic who divorced her husband Tom after she caught him cheating on her, takes the train to work daily. She fantasizes about the relationship of her neighbours, Scott and Megan Hipwell, during her commute. That all changes when she witnesses something from the train window and Megan is missing, presumed dead.

Actors: Marko Caka , Lisa Kudrow , Justin Theroux , Allison Janney , Edgar Ramírez , Laura Prepon , Luke Evans , Haley Bennett , Rebecca Ferguson , Emily Blunt
Directors: Tate Taylor
Country: USA
Release: 2016-10-07
More Info:
  • Leah Greenblatt

    [Taylor] deftly translates the bleak, raw-boned menace and tricky time signatures of Train’s intertwined plotlines, and draws remarkably vivid performances from his cast, particularly his two female leads.

    Entertainment Weekly Full Review
  • Matt Donato

    It might be a tad light when matched against the wittiest mysteries, but for all intents and purposes, The Girl On The Train is a tightly-wound Hitchcockian ride wrought with tension. Elements of voyeurism, self-loathing and murderous intent mix together in a volatile cocktail stirred gently by director Tate Taylor, who doesn’t dilute a single ingredient.

    We Got This Covered Full Review
  • Moira Macdonald

    Girl on the Train isn’t likely to haunt its shivering viewers the way the “Gone Girl” movie did. Blunt, however, makes the ride well worth taking.

    The Seattle Times Full Review
  • Mick LaSalle

    The most exciting contribution to The Girl on the Train is that of Wilson. It’s exciting because it shows that it’s possible, despite the odds, for a distinctive screenwriter to express herself consistently and dominate a film. And it’s exciting because this is a unique voice, and very much a woman’s voice, that our cinema needs.

    San Francisco Chronicle Full Review
  • Jane Henderson

    A taut psychological thriller, just as tense for those who already know its conclusion.

    St. Louis Post-Dispatch Full Review
  • Peter Travers

    That's Emily Blunt, and she is perfection, playing the hell out of this blackout drunk and adding a touch of welcome empathy.

    Rolling Stone Full Review
  • Roger Moore

    A tricky thriller whose tricks are less important than its riveting leading lady.

    Movie Nation Full Review
  • Manohla Dargis

    The Girl on the Train is a preposterous movie but not an unenjoyable one. If that sounds like faint praise, well, it is and it isn’t. There’s always something to be said for an entertainment that sustains its nuttiness all the way to its twisty finish.

    The New York Times Full Review
  • Owen Gleiberman

    As a big-screen thriller, The Girl on a Train is just so-so, but taken as 112 minutes of upscale psychodramatic confessional bad-behavior porn, it generates a voyeuristic zing that’s sure to carry audiences along.

    Variety Full Review
  • Tirdad Derakhshani

    With its female heroines and its uncertain, constantly shifting view of reality, The Girl on the Train is a bit like a cubist, feminist episode of "Law & Order." But not much more.

    Philadelphia Inquirer Full Review
  • Lawrence Toppman

    “Train” makes its strongest impact in Blunt’s hands. Her vulnerability brings pathos to every scene she enters, making you wish the whole film could have been told through Rachel’s bleary eyes – and set in England, where she belongs. But it’s a pleasure to see her anywhere.

    Charlotte Observer Full Review
  • James Berardinelli

    As a B-movie whodunnit designed for fast consumption by popcorn munching crowds of inattentive viewers, it’s solidly entertaining. But as a complex, Hitchcockian (as in the obvious inspiration, Rear Window) thriller, it misses by a wide margin.

    ReelViews Full Review
  • Ty Burr

    If only the movie had the courage to be as gonzo as it wants to be!

    Boston Globe Full Review
  • Katy Waldman

    The movie isn’t perfect. I’m not even sure if it’s good. For one thing, it can feel reductively boilerplate in its treatment of it-girl Megan.

    Slate Full Review
  • James Mottram

    Guilty of being slavishly loyal, Taylor’s film never quite translates into the cinematic equivalent of Hawkins’ page-turner. Blunt, though, is excellent.

    Total Film Full Review
  • Tim Robey

    It’s as if the book has been given a full-body massage en route to the screen, teasing away some of the spinal kinks that actually made it interesting.

    The Telegraph Full Review
  • Matthew Anderson

    The Girl on the Train engages more than it rivets and brings goosebumps to skin more than chilling to the bone.

    CineVue Full Review
  • Cath Clarke

    Like a fridge whose door’s been left open overnight, the film doesn’t feel chilly enough. It’s not terrible, but fans of the book may well be disappointed.

    Time Out London Full Review
  • Ignatiy Vishnevetsky

    Taylor’s direction is cosmetic, focused on well-groomed and well-dressed actors, spotless interiors, and the arty, textured camerawork supplied by cinematographer Charlotte Bruus Christensen, whose gifts are both self-evident and sort of wasted here. It’s artificial without a hint of intentional façade: No home looks lived in and no conversation feels like it could have occurred outside of a laboratory environment.

    The A.V. Club Full Review
  • Dan Mecca

    Taylor’s unremarkable thriller is not one that demands to be seen in theaters, but will undoubtedly be seen and enjoyed in that rainy Sunday afternoon kind of way. There’s some comfort in that.

    The Film Stage Full Review
  • Amy Nicholson

    The film is polite when it should be wicked — it’s melodrama that thinks it’s saving lives, like it drank too much chardonnay and convinced itself that since Gone Girl almost got an Oscar, maybe it can, too. That tonal muck prevents the film from going in any direction.

    MTV News Full Review
  • Peter Rainer

    A central dictum of any mystery thriller is this: Make your protagonists, especially your villains, worth caring about. The Girl on the Train, directed by Tate Taylor from a script by Erin Cressida Wilson, falls down on the job.

    Christian Science Monitor Full Review
  • Steve Persall

    When we-know-who finally gets what's coming, The Girl on the Train briefly reaches its campy feminist potential, after two hours of taking a transparent mystery too seriously.

    Tampa Bay Times Full Review
  • Kate Taylor

    Whatever the locomotive power of the novel, this film adaptation only limps into the station.

    The Globe and Mail (Toronto) Full Review
  • Bill Goodykoontz

    It is a somber slog through the lives of one miserable wretch after another.

    Arizona Republic Full Review
  • Kyle Smith

    Lacking either the narrative shiftiness or the trashy thrills of “Gone Girl,” this one is the kind of flick few will watch twice: It has about as many twists and turns as an L. The third act of a movie shouldn’t make you feel as though the first two acts were a waste of time.

    New York Post Full Review
  • John Anderson

    The film never quite succeeds, simply because the book’s core virtues do not lend themselves to cinema.

    Wall Street Journal Full Review
  • Kevin Jagernauth

    Keeping things on the right side of watchable are the performances, none of which are particularly revelatory, but all of them serving the territory their role in the story requires. Blunt and Bennett both rise above the pack, but even so, the screenplay doesn’t give them dimension until almost too late.

    The Playlist Full Review
  • Michael Phillips

    For one thing, and it's a big thing, it's filmed all wrong. Director Taylor and cinematographer Charlotte Bruus Christensen favor handheld, Rachel's-eye-view close-ups, by the woozy hundreds. The toggling editing rhythms get to be a bit of a chore.

    Chicago Tribune Full Review
  • Richard Roeper

    It’s shiny trash that begins with promise but quickly gets tripped up by its own screenplay and grows increasingly ludicrous and melodramatic, to the point where I was barely able to suppress a chuckle at some of the final scenes.

    Chicago Sun-Times Full Review
  • Michael Nordine

    The Girl on the Train, though an enjoyable enough ride, goes idle once it slows down long enough for you to take in the full view of things.

    Village Voice Full Review
  • Stephanie Zacharek

    The Girl on the Train is less a thriller than a morality tale reminding us never to make snap judgments. No matter how dreadfully some characters behave, we’re not allowed to dislike anyone for long. That kind of catharsis isn’t allowed.

    Time Full Review
  • Allison Shoemaker

    The film’s flaws aside (those will come later), Blunt’s performance is a hell of a thing, wholly lacking in vanity and brimming with honest, ugly feeling.

    Consequence of Sound Full Review
  • Anthony Lane

    Does it matter that the plot is so full of holes that you could use it to drain spaghetti?

    The New Yorker Full Review
  • David Edelstein

    A filmmaker has a feel for this kind of storytelling or doesn’t, and the people behind The Girl on the Train don’t.

    New York Magazine (Vulture) Full Review
  • Kimberley Jones

    It’s a tedious watch, inferior in every way to David Fincher’s slick, grinningly grim "Gone Girl." Any chance for lightning striking twice is going, going, gone.

    Austin Chronicle Full Review
  • Joe Dziemianowicz

    Director Tate Taylor, who neatly wove together women’s stories in “The Help,” is out of his depth with a thriller. He fills the screen with endless close-ups but not a lick of tension.

    New York Daily News Full Review
  • Jonathan Pile

    It's the thriller aspect that most lets the film down, failing to truly engage or offer enough plausible red herrings to send your mind whirring through different theories as to what could have happened. The twists rarely, if ever, have the impact that were intended.

    Empire Full Review
  • Todd McCarthy

    The puzzle of how the various personal and narrative pieces will eventually fit together exerts a smidgen of interest, but the characters are so dour and un-dimensional as to invite no curiosity about them.

    The Hollywood Reporter Full Review
  • Peter Bradshaw

    The complicated web of narrator-switches, flashbacks and POV-shifts seems clotted and Emily Blunt – usually so witty and stylish – is landed with a whingy, relentlessly weepy role in which her nose hardly ever resumes its natural colour.

    The Guardian Full Review
  • Christy Lemire

    It’s just a flat and suspense-free tale of pretty people in peril. Full Review
  • Brian Truitt

    The major whodunit here is who made a best-selling thriller so darn boring.

    USA Today Full Review
  • Christopher Gray

    It forgoes its promise of twisty adult thrills in favor of a grimly deadpan lecture about messy truths and false perceptions.

    Slant Magazine Full Review
  • Ann Hornaday

    Even viewers who are mildly diverted by the whodunit angle are unlikely to find themselves emotionally engaged in the outcome.

    Washington Post Full Review
  • David Ehrlich

    No matter how basic Hawkins’ book might be in comparison to some of the ones that came before it, it’s hard to argue that it didn’t deserve better than this, that any story so smartly attuned to the need for women to hear themselves and each other should be reduced to such flavorless swill.

    Indiewire Full Review
  • Justin Chang

    The empathy that Taylor summoned so effortlessly in his previous films feels strained and unpersuasive here, and moments that should be lacerating...are overplayed to ghastly effect.

    Los Angeles Times Full Review
  • Erin Whitney

    Taylor’s film lacks the suspense required of a thriller. It’s a cheap exploitation of the horrors of alcoholism, depression, and domestic abuse that thinks it’s much smarter and artsier than it is.

    ScreenCrush Full Review
  • Tim Grierson

    Flying off the rails at an alarming speed, The Girl On The Train fails as a compelling character study, struggles to satisfy as a psychological thriller and ultimately settles as an overheated potboiler that doesn’t have the courage to go full camp.

    Screen International Full Review
  • Robert Abele

    The overall mood created by the crummy, pinched visuals and logic-strained rhythm is of something scanned and discarded, like a tabloid article or a Lifetime movie.

    TheWrap Full Review
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