The Girl on the Train (***) has a familiar track

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The Girl on the Train – 2016

Director Tate Taylor
Screenplay Erin Cressida Wilson based on the novel by Paula Hawkins
Starring  Emily Blunt, Rebecca Ferguson, Haley Bennett, Justin Theroux, Luke Evans, Allison Janney, Édgar Ramírez, Lisa Kudrow

The Girl on the Train is a movie that feels like it probably was quite well enjoyed by all of the stellar cast that volunteered to be in the film. It’s filled with more than a few choice roles for women – even Phoebe from Friends has a pivotal role. That their enjoyment does not translate to a greater success is a shame.

Emily Blunt has the choicest role, though, as Rachel Watson. Rachel is a sleepy dreamer, who has created a fantasy about a married couple that she sees on her daily train rides to and from New York City. By the first time we see her, she’s already created several scenarios for who this beautiful woman (Bennett) is, what she does and who she loves. Upon closer examination, we are fed bits and pieces of who Rachel is, who the object of her fantastic vision is, and who that seemingly happy couple is living two doors down are that hired the woman as a nanny. The couple consists of her ex-husband, Tom (Theroux) and his lovely new wife Anna (Ferguson). They got together before Rachel and Tom divorced.

The movie goes through great pains to show us how messed up Rachel appears to be. She is an alcoholic, and that is among her better traits. She is a creeper, with seemingly no connection to reality. She stalks her ex-husband’s family, even going so far as to take their child outside once, if only just to hold for a while.

The story jumps around. Going from time forward to the past with assorted flashbacks in between. We get to know more about the other characters. Megan is the girl who Rachel has been watching from the train. Saying she has issues is an understatement. She’s even seeing a psychologist. Anna, she seems very sleepy a lot of the time. What is going on with her?

The problems of each of these women seem to intersect nicely with Rachel’s erratic behavior. Then Megan disappears.

Watching this story, it is easy to connect the dots when one considers there is not one image that the director does not intend for us to see. It becomes a contest of wills to see how much one can force oneself to enjoy the film for the performances, which are all more than adequate to push us through one labored scene to the next.

Blunt is the clear standout, as she commits herself so completely to the role, she is almost hard to watch. She is clearly physically and emotionally ill. She has horrible blotchy skin and her breath is almost visible.

Bennett is equally good. Her intensity and motivation perfectly matches her character’s history. She is recognizable in the most painful way. She’s one that could make all men nervous and attracted at once, without ever really being seen by them. Bennett could parlay this and Magnificent 7 into quite a career, if she picks the right parts.

Ramírez has a choice role as Megan’s psychologist. His character and performance cuts beyond what one would picture of a therapist that looks like he does.

Ferguson’s character seems like it was a bit underserved by the story. Anna is played with a seeming reservoir of emotions being unearthed by the unfolding events. Where she ends up just seems like it’s short of the character and actresses potential.

The rest of the cast is pretty much what one could expect from a movie like this. None of it is all that bad, but every bit of it is foreshadowed enough to take the steam out of the mystery.

Taylor was an overachiever in his early directing efforts. This time around, he does very little to distinguish himself as anything more than an average director. There is nothing here that exceeds the grasp of someone directing a Lifetime drama. He is capable of way more.

(*** out of *****)

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The Magnificent Seven (****) is star power at its best

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Magnificent 7 – 2016

Director Antoine Fuqua
Screenplay Nic Pizzolatto, Richard Wenk based on Seven Samurai by Akira Kurosawa,
Shinobu Hashimoto, Hideo Oguni
Starring  Denzel Washington, Chris Pratt, Ethan Hawke, Vincent D’Onofrio, Byung-Hun Lee, Manuel Garcia-Rulfo, Martin Sensmeier, Haley Bennett, Peter Sarsgaard, Matt Bomer, Sean Bridgers

In all fairness, I didn’t really care to see this movie. Washington has been in several good but nowhere near great films lately and I thought I would wait until it was released on video. When I came upon an extra 4 hours, I decided it was the best thing I hadn’t seen yet to pass the time. It was a grand decision.

Let’s be clear, nothing I watched in the span of 133 minutes is anything close to original. It’s the basis of most of the Westerns ever released, even if this version is properly accredited to Kurosawa’s original classic.

What one gets in a movie like this is the opportunity to try on a comfortable story with the flavors of the moment. The two primary ingredients this time, Washington and Pratt, are given the privilege of filling well worn characters with their own version of the trope. They are marvelous, but surprisingly aren’t even the best performers in the story.

That honor is awarded to Bennett and Lee. Who they play is not as important as how they play the roles. Both are fearless in attacking their roles with a fierceness rarely seen in retread stories. Bennett is the wronged woman Emma Cullen, stepping up when everyone steps back. She’s never expected her life to be rolled over by the likes of Bartholomew Bogue (Sarsgaard) and she’ll be damned if she takes it laying down, like the rest of the residents of her mining town Rose Creek are all too willing to do. Emma heads to the nearest town in search of help. She ends up with Warrant Officer Sam Chisolm (Washington), who accepts the opportunity at vengeance because he wants a crack at Bogue.

Chisolm gathers up the dangerously loquacious Josh Faraday (Pratt) and together they gather the United Nations of anti-heroes to come along and help. This group includes Hawke’s dangerous yet shell shocked sharpshooter Goodnight Robicheaux. Robicheaux just happens to be doing the Every Which Way But Loose tour with his friend Billy Rocks (Lee). To say Rocks is good with knives would be like saying Quigley’s only good with rifles. Frankley, the dude can master every type of weapon imaginable.

By far the strangest addition to the group is D’Onofrio’s grizzled old kook trapper Jack Horne. The tone of voice used from the onset is shades of latter day Brando. That voice morphs into something different, but equally indecipherable when they get to Rose Creek. As much as he needs subtitles to be understood, D’Onofrio has mastered the skill of holding the camera’s gaze. It’s not a wasted performance by any means. Let’s just say I had to acquire the taste.

Mexican outlaw (Garcia-Rulfo) is represented as more than an a brown person with an accent. His character is given some gravitas and actually fits in well with Pratt’s goofball persona, without losing any of his stoic demeanor.

Only the rogue Comanche (Sensmeier) comes closest to being a trivia question here. His motivations are never clear enough to explain his desire to join the group, especially after nearly every one of them pulls a gun on him at first meeting when it’s obvious he’s not a threat in the slightest.

Pratt makes a bit of a comeback here, after floundering a bit with Jurassic World. Even if he’s merely a more dangerous version of Star Lord, he gets the best moments of the script and never flounders the opportunity.

Washington, as usual, gets the straight man role and flourishes. He’s not been a supporting actor in so many years, it’s hard to expect that he would develop any tics at this point. He’s got the charisma of Eastwood, but he doesn’t have to rely on a snarl. He’s the most reliable actor of the last 20 years and this is a performance that brings him glory without having to do more than flex his tiniest acting muscles. His leader outshines the one note Brenner and equals Shimura’s original. What’s most incredible is that what he’s doing doesn’t even feel like acting. It’s just who he seems to be.

Sarsgaard gives us some good old greasy evil. He’s despicable and he has style. He walks on the good side of Ribisiville. That’s a good thing, because until I saw this, I didn’t know one could pull off a stylish version of Ribisi.

The best thing about this story is Lee. He continues to shine in everything he’s in. He exceeds the grasp of his caricature here. He’s just supposed to throw knives. Instead he brings charisma to every scene he’s in, while bringing depth to Hawke’s already good performance. He is the spice that moves the needle to near greatness.

Fuqua continues to succeed in Hollywood, when critics keep comparing him to Denzel’s Oscar vehicle Training Day. He turns huge profits with most projects and his actors love working for him. Working with True Detective writer Pizzolato serves the best instincts of both. There is no downtime here. This is the best PG-13 violence I have witnessed in a film. It looks dangerous and the humor works without removing the tension.

Even if you are not a fan of the recent spate of pale remakes that come along with every generation, this update is worth your time. It will take a spot in my collection, to be sure. Right after Kurosawa.

(**** out of *****)