THE GIRL ON THE TRAIN
Rachel Watson (Emily Blunt), an alcoholic who divorced her husband Tom (Justin Theroux) after she caught him cheating on her, takes the train to work daily. She fantasizes about the relationship of her neighbours, Scott (Luke Evans) and Megan Hipwell (Haley Bennett), during her commute. That all changes when she witnesses something from the train window and Megan is missing, presumed dead.
It’s obvious that this movie is suppose to be this year’s Gone Girl, being based off a fairly popular book by Paula Hawkins. The trailers had this interesting dark gritty look to it, there’s a good strong cast involved, a director who’s proven his worth with The Help, sounds like there’s a winner here….SOUNDS LIKE!!!!
The actual movie we have here is nothing but a disjoined mess and one of the biggest disappointments of the year. I mean, sweet mother of god, this was much worse than I could’ve thought.
For one thing, the cast is really lackluster here, nobody here gives that good of a performance here, the only one who has a legitimately decent performance is Emily Blunt but even then, she comes off as too whiny as Rachel.
That’s another problem with the movie, nobody in this movie is likeable or interesting, every single character is a predictable cliché, you’ve got the voluptuous bombshell who likes to sleep around and cause trouble, you’ve got the woman with trust issues who’s trying to help but is actually making it worse, you’ve got the cheating husband, you’ve got another cheating husband with sinister intentions, you’ve got the cops who try to make the guilty innocent, there is nobody in this movie that is interesting or likeable whatsoever.
Another problem is that the mystery itself is not that interesting either. In Gone Girl, the mystery on who Rosamund Pike and Ben Affleck’s characters were was interesting because you had all these cool little twists and turns that proved that neither one of them were not stupid and could play mind games with each other when they needed to, especially Pike’s character. In this movie, the mystery is not exciting at all.
There’s also way too much melodramatic shit in this, I’m not watching this and thinking I’m watching a good thriller here, I feel like I’m watching a bad Lifetime movie. In fact, I wouldn’t be surprised if Lifetime was looking at The Girl On The Train before they made this movie as a future TV movie, that’s how bad this is.
Danny Elfman once again wastes his talents on yet another score that’s devoit of using anything that makes Elfman’s music so special. For somebody like Danny Elfman with his reputation for these great gothic and amazing sounding scores, this is yet another movie that doesn’t use Elfman right at all. Epic, Mr. Peabody & Sherman, Fifty Shades Of Grey, and now this, it’s like they want Elfman to do something out of his norm but when he does that, he’s nowhere near as good as usual.
The only thing I will give the movie credit for is the cinematography, Charlotte Bruus Christensen does a good job creating this dark brooding feel that the book and the story should have so that’s the only real thing about this movie that I will give it praise for.
Everything else, the movie is just a bore, there’s nothing investing or exciting about it, all the characters are cliché riddled with no likability at all, the cast is wasted, the mystery doesn’t work, the thriller aspect ain’t there, the melodramatic levels are at an all time high, it’s a mess, it’s a big gigantic mess of a film and the second consecutive failure for director Tate Taylor who started off so strong with The Help and then falter with Get On Up and now this, it’s one of the year’s worst movies so far.
THE MAGNIFICENT SEVEN
Director Antoine Fuqua brings his modern vision to a classic story in The Magnificent Seven. With the town of Rose Creek under the deadly control of industrialist Bartholomew Bogue, the desperate townspeople employ protection from seven outlaws, bounty hunters, gamblers and hired guns. As they prepare the town for the violent showdown that they know is coming, these seven mercenaries find themselves fighting for more than money.
Two years ago, Antoine Fuqoa and Denzel Washington reteamed to give us The Equalizer, a very flawed but overall fun action film, and I will say this that if you liked The Equalizer, like I did, then The Magnificent Seven is just as good if not slightly better. This is a good fun action movie, and the best western to come out since the True Grit remake, which honestly isn’t saying a lot since we haven’t had many good westerns come out in the last decade except for True Grit, and even before that it was a good seven years before that when we had Open Range.
Bottom line, this was a really enjoyable movie.
Denzel Washington is always going to be great to watch on screen and he’s got a really solid cast to work off of, Chris Pratt, Ethan Hawke, Vincent D’Onofrio, Byung-Hun Lee, Haley Bennett, Peter Sarsgaard, Matt Bomer, there’s a really great cast involved in this.
The action is really solid, the comedy works really well, the writing is really good here, this was co-written by True Detective creator Nic Pizzolatto and the writing really does work well here.
The score is really good here, this is the final score by James Horner before his death in Summer 2015 and he ends his long excellent career on a high note.
The visual look of the film is impressive, the cinematography by Mauro Fiore is excellent and fits right into his other works with Fuqua, having worked on many of his films going all the way back to Training Day.
The only real complaint I have towards the film is that I didn’t think Peter Sarsgaard wasn’t very good as the villain of the film, he was your typical Saturday morning cartoonishly evil supervillain with no real motivation or reasoning to why he’s the bad guy, he’s just the bad guy. He just wasn’t a good bad guy to play off the heroes of the film.
Overall, I did really enjoy The Magnificent Seven about on the same level as The Equalizer, it’s a good fun action western and another winner for the duo match of Denzel Washington and director Antoine Fuqoa.
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