Haley Bennett

The Girl On The Train

Director: Tate Taylor (2016) BBFC cert: 15

Calling at all stations to murder via stalking, infidelity and kidnap, this chilly mystery drama still manages to be a very dull journey.

Not afraid to upset the hardcore fans of the best selling book on which it’s based, the setting has been changed from the UK to the US. Yet Brit born and naturalised US citizen Emily Blunt doesn’t mind the Atlantic gap, being suitably downbeat and occasionally manic as Rachel, the girl on the train.

While on her daily commute to New York, Rachel sees what she thinks is evidence linked to the disappearance of a local girl. Megan was a nanny to the daughter of Anna, now happily married to Rachel’s ex husband. Haley Bennett and Rebecca Ferguson form a formidable acting trio alongside Blunt.

Best known as Phoebe from TV’s Friends, Lisa Kudrow’s brief appearance makes you wish you were watching that show instead, it doesn’t help she’s playing a character called Monica opposite one called Rachel. Although always a welcome screen presence, employing an actress whose career has been defined by light comedy jars with the resolutely grim mood.

As a police detective, Allison Janney explains to Rachel and to us, exactly how increasingly preposterous her story and behaviour are. It’s great to have a film with this many dominant female roles.

I imagine the cop character is supposed to represent the perception of the tendency of state authorities’ to victim blame in domestic abuse cases. But such is the far fetched nature of the story, you can’t help but nod along with her unsympathetic incredulity.

These ridiculous plot twists means we can’t take any of it seriously. It fails in every way to be a hard hitting examination of domestic abuse. And taken as a rabid potboiler, it lacks the trashy sense of fun and gleeful malice which made David Fincher’s Gone Girl (2014) such an entertaining watch.

Lies, memories and fantasies combine as the silliness unfolds from the differing point of view of the three connected women. We see how they perceive one another is far different to the truth of their circumstances.

The extreme dullness of the villain may well be a comment of the banal nature of everyday evil, but I greeted the unmasking with a shrug of indifference. Plus the silly finale caused giggles at the world premiere, which I can’t imagine is the response the film-makers were aiming for.

The story pootles along through a flat landscape of scenes devoid of big screen spectacle and it feels like a lacklustre Sunday evening TV mini-series whodunnit.

But not one worth missing Poldark for.

★★☆☆☆

@ChrisHunneysett

 

 

 

The Magnificent Seven (2016)

Director: Antoine Fuqua (2016) BBFC cert: 12A

Compared to the truly magnificent 1960 original, this unlooked for western remake is unsurprisingly inferior. But after a summer of poor blockbuster fare, it’s passable entertainment in its own way.

Unburdened by any more ambition than a broad desire to be please, the film trots through the familiar story of a small posse of cowboys facing overwhelming odds.

There’s a liberal lifting of scenes and dialogue from the John Sturges version and a cheeky play of Elmer Bernstein’s majestic original score over the end credits. The new main score by the late James Horner is monumentally forgettable.

Reasons for watching include handsome photography, great period design and the no shortage of old school action. There are real sets, stuntmen and horses instead of CGI fakery. The $100M budget is all on screen.

Traditional western themes of comradeship, courage and loyalty are wrapped up in a glossy tale of redemption. This is an optimistic vision of how the US could still be won, with a rainbow society trying to overcome corporate greed and restore the church to the centre of civic life. This last point will resonate with US conservative Christians, a larger and more influential congregation across the pond than here in the UK.

Headliners Denzel Washington, Chris Pratt and Ethan Hawke are clearly enjoying themselves and their combined charisma is the film’s biggest strength. Vincent D’Onofrio adds more humour as a tracker, a fool who speaks truth to power.

The casting attempts to accurately reflect the ethnic mix of contemporary US, and presumably hopes to attract the audience which makes the multi-ethnic Fast Furious franchise such a global success. So the remaining gunslingers are respectively Chinese, Mexican and Native American. Sadly they’re so poorly scripted, their race is pretty much the extent of their characterisation. One is described as an assassin but they may as well have gone the whole hog and called him a ninja.

Washington stars as bounty hunter Sam Chisolm, hired by a young widow who needs protection from a corrupt industrialist. Haley Bennett offers true grit as Emma, the only female speaking role of note.

It’s a shame there aren’t a few more women in the movie, or even – gasp – in the seven. Tarantino’s The Hateful Eight and Natalie Portman’s Jane’s Got A Gun featured strong willed gun-toting women. We could have done with more similarly natured women here.

Although Emma plays a small but crucial role, she definitely is not part of the all-male gang. As it is, she barely qualifies as the female Smurf. Amid all the back slapping diversity, fifty percent of the population are woefully under-represented. Except for whores, who are everywhere.

Chisolm has a personal reason for taking the job and recruits collection of desperadoes and misfits to defend the gold mining town. They include Pratt’s gambler and Hawke’s PSTD suffering civil war veteran.

Through a suitably sweeping landscape we move briskly from one action scene to another. The action is staged with occasional invention but at times the geography is unclear. This is especially true in the finale where our heroes face almost insurmountable odds and a seemingly infinite supply of ammunition. Until the smoke cleared I wasn’t sure exactly who had survived.

Peter Sarsgaard sketches without light or shade his consumptive black hearted villain, Bartholomew Bogue. He mostly acts apart from the Seven and with the protagonist isolated there’s a sense the film isn’t terribly interested in him. Consequently nor are we very much.

For long periods it’s agreeable crowd pleasing stuff. We’re reasonably entertained but never roused or excited. This not a disaster such as the recent Ben-Hur remake is, but it is quite far from magnificent.

★★★☆☆

@ChrisHunneysett