Please refresh the page and retry. T he first trailer has been released for Tate Taylor's adaptation of Paula Hawkins' bestselling debut novel of the same name, and the film looks set to be a dark and punchy thriller when it arrived in cinemas in October. Emily Blunt plays central character Rachel Watson, a divorcee who fantasizes about a couple who live on the same street as her ex-husband after she sees them from her commuter train. Rachel becomes involved with a criminal case after seeing something shocking during her commute, which gets her embroiled in a mystery that alters her life, and that of everyone else involved. While Hawkins set her novel of the same name in British suburbia, screenwriter Erin Cressida Wilson and director Taylor have moved the plot to the elegant lawns of upstate New York for its film adaptation. Blunt is joined by Rebecca Ferguson, who plays the mistress of Rachel's ex-husband Tom Justin Theroux and Haley Bennett, who plays the woman at the centre of the mystery, Haley Bennett.
Luke Evans and Haley Bennett on 'Girl on the Train' sex scenes
The Girl on the Train Movie Review
Sex, violence and Emily Blunt: The Girl on the Train first trailer is here
The Girl on the Train is a American mystery thriller drama film directed by Tate Taylor and written by Erin Cressida Wilson , based on British author Paula Hawkins ' popular debut novel of the same name on. Principal photography began on November 4, , in New York City. The film premiered in London on September 20, , before it was theatrically released in the United States on October 7, Rachel Watson is an alcoholic who rides a train aimlessly since losing her job and her marriage.
T he practice of referring to grown women as girls continues; here is the one on the train, as opposed to the gone one , or the one with the dragon tattoo. But this hottest of literary properties lands with a lukewarm splat on the movie screen: a guessable contrivance with a biggish plothole. Lieutenant Columbo could have sorted it in five minutes. 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.