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Emily Blunt stars in an adaptation of the best-selling thriller by Paula Hawkins. But the film fails to pick up speed, writes Nicholas Barber. Its heroine, Rachel, is a miserable, alcoholic divorcee who gazes at the same house twice every day when she commutes by train between London and suburbia. She likes to imagine that the man and woman she sees in that house have an idyllic marriage, just as she used to do when she lived nearby, before her inability to get pregnant drove her away from her husband and towards the bottle.
But her illusions about this seemingly perfect couple are shattered when she spots the woman, Megan, kissing another man. The next day Megan vanishes, and Rachel fears that she might have been involved. View image of This video is no longer available. What worse is that nothing is at stake for her, given that she is already at rock bottom, nor is she in any danger.
The Girl on the Train, on the other hand, is so hollow that there is plenty of space for a film-maker to fill with interesting detail. A few of those changes have clear commercial reasons. A few other changes are simply baffling: And why has Rachel been turned into an accomplished artist when her drawings have no bearing on the story? They seem designed to make the film less cinematic, not more.
When we first see Rachel, she explains who she is and how she feels in ponderous voiceover. What is she doing? They are either talking to themselves in voiceover, or talking to their babies, or talking to their therapist, or talking to a police detective Allison Janney who investigates the case without actually doing anything. Sitting through The Girl on the Train is less like watching a propulsive mystery film than listening to a radio play while looking at pictures of sad people.
The endless cutting between different narrators with different perspectives also means that, instead of picking up speed, this particular train chugs back and forth along the same stretch of track, stopping at every station along the way. There are flashbacks, and flashbacks within flashbacks, but we never seem to be getting any closer to the destination, that is, finding out what happened to Megan.
Rather than contenting themselves with anything as lowly as entertaining an audience, they were attempting to fashion an intricately patterned mosaic that drew parallels between the three central women, and which commented on cycles of abuse and denial.
That, at least, might have been fun. As it is, The Girl on the Train has ideas above its station. By Nicholas Barber 7 October All The next month The next 3 months The next 6 Months./p>
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There are women in pain, screwing up, struggling and yet managing to keep their heads above water. That, to me, was the whole point. So how does Flynn answer the criticism she's received from some quarters that she's been "misogynistic" in her portrayal of women? It's such an insane thing to say, as if you're too delicate to bear the idea of a negative portrayal of a woman.
Literature has moved to represent women in a way that films and TV often haven't, Flynn muses. Not that there's any chance of Adams being described by anyone in such a way.
Flynn singles the Arrival star out for praise. Camille is a very damaged human being, but you're not so concerned that you can't bear it. The mother-daughter relationship at the centre of Sharp Objects was "very important", says Flynn. I think there can be something about that relationship that's really toxic, and symbiotic in a very odd way. And she has to do it to figure out what's going on. Seeing Adams and Clarkson together were "some of the most disturbing and hard-to-watch scenes", the author admits.
I've certainly gone through periods of deep psychological pain. It's a horrifying and frightening thing. Is no-one seeing this? Flynn admits that much has changed for her since she wrote Sharp Objects 12 years ago - and says the process of bringing it to the screen was much longer than was the case for Gone Girl. I can hear the echoes of myself in there, from a different time period. The author admits she hasn't read the book since then, saying she tends not to read her own work once it's finished.
If you have a story suggestion email entertainment. The EU's upbeat assessment comes two weeks after officials dismissed the UK's proposals as unworkable. The problem was, she just wasn't Related Topics Literature Books Television. More on this story.
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