The Girl on the Train

Tate Taylor’s The Girl on the Train, based on Paula Hawkin’s best selling novel of the same name, has been one of the most talked about and hyped releases of the year. With an all-star cast lead by Emily Blunt, it certainly has a lot to live up to.

Divorcee Rachel Watson (Emily Blunt) is an alcoholic, she has been for a long time, with alcohol-induced blackouts littering memories of her marriage. It all fell apart for Rachel when she caught her husband Tom (Justin Theroux) cheating on her with their estate agent Anna Boyd (Rebecca Ferguson). Every day, Rachel catches the train past her old neighbourhood, glancing into her old house and the surroundings. She becomes fixated on Tom’s neighbours, Scott (Luke Evans) and Megan Hipwell (Hayley Bennett), the archetypal relationship that Rachel desires. After a series of far from lucid moments, Rachel wakes up injured in her apartment. She can’t remember anything from the night before and finds out that Megan is missing.

It’s taken me nearly a week to get my notes together after watching this mess of a film. There was a tremendous amount of hype for The Girl on the Train leading up to release, with many heralding it as another potential Gone Girl, and the comparisons to that are important because technically and thematically it’s obvious that Taylor draws inspiration from Fincher’s film (or rips it off as some may view it). Full disclosure, I wasn’t as enamoured with Gone Girl as many others were, but to compare these two is just insulting.

The first issue comes with the mystery. Judging from the marketing, The Girl on the Train promised to be a dark and gritty mix of procedural crime and psychological thriller. What we get is barely a flash of the crime element until the denouement when all the puzzle pieces are revealed at once, well-and-truly together and not particularly intriguing, engaging or even intelligent. The rest of the film is composed of horrendous editing, a very ugly use of low-framerate photography and a thinly laid psychological pastiche that does very little to enchant the audience.

People are praising Emily Blunt’s performance as the one saving grace this film has, but I can’t even agree with that. She spends most of her time pretending to be intoxicated and stumbling around helplessly in a role that certainly might trump the other performances on-show but is still not worthy of the kudos that it has received. There’s no real downfall for Rachel because she’s already spun-out of control by the time we meet her. The material is just so poor that even such an able cast can’t dredge a solid character out of Erin Cressida Wilson’s script.

Allison Janney's character is probably the only half-enjoyable one, solely because she goes around somehow knowing everything about everyone and being a hilariously smug detective. It’s as annoying as it sounds but hey, at least she’s not sulking around with all the other depressed, dopey characters, whose sole-interactions with the world seem to be abusing each other and engaging in ridiculous love triangles. There’s one particularly absurd scene towards the end that just about sums up The Girl on the Train, with the audience's reaction a mix of 10% genuine shock, 80% belittling laughter, and 10% heading for the exit.

The Girl on the Train is a poorly acted, poorly written, frustrating, tedious, ugly lump of a film, which squanders all its energy on its meandering plot. I couldn’t honestly recommend that anybody spend money on this total misfire, but given the book’s performance, I know that they will.

Florence Foster Jenkins

British director Stephen Frears is well known for his heavily dramatic movies like The Queen and Philomena. Even the comedies he has directed tend to be on the heavier side. Because of that inclination, a conventional comedy like Florence Foster Jenkins seems like an odd choice for him. Combine that with the fact that the story isn't that interesting, makes it an even more confusing choice.

In 1944 New York, Florence Foster Jenkins (Meryl Streep) and her husband St. Clair Bayfield (Hugh Grant) are patrons of the music scene in the city, putting on many concerts at The Verdi Club, a concert hall that they founded. Florence decides soon that she wants to put on a concert of her own to display to the public her singing skills. St. Clair hires pianist Cosmé McMoon (Simon Helberg) to accompany her, but he soon discovers that she is an awful singer. Despite this, Florence wants to play Carnegie Hall, a dream she has had since she was a child.

It seems odd that this story has been made as a comedy (well I thought it was one) because it's quite a sad story. It almost seems as though we are making fun of Florence because she was completely unaware of her terrible singing voice. The jokes also don't come from the fact that she has a terrible voice, but rather the reactions from people who are hearing her for the first time. The first joke that I did find funny was the tension that was built up when we hear Florence sing for the first time, being interrupted by this or that. I feel like the decision to make this movie was based very heavily on the fact that a French film called Marguerite was made last year and their needed to be an English language version of the story made. Again, I have no idea why, it's not a very interesting story.

Method actor Meryl Streep has gone a bit overboard here. Since she is well known for immersing herself entirely in her roles, Streep has done the same here but to no real effect. In her portrayal of Florence, she just becomes bland because the character has no room to be interested, thus boxing Streep in. Luckily, the other performances are a tad more engaging. Hugh Grant has aged very quickly I've noticed. One day he was young and now he just looks a lot older. And it really helps him in this movie as he's playing a more sedate mature character. He works really well as the emotional core of the movie. Simon Helberg is pretty funny as Cosmé and shows a real departure from other characters he has played. Rebecca Ferguson appears as St. Clair's girlfriend, but way too briefly for my liking.

Florence Foster Jenkins is an unexpected movie. Not in a way that you're surprised at how good it is or how funny it is. The feeling is more one of "Oh, I didn't expect that."

Jack's Thoughts - Mission: Impossible - Rogue Nation

My face after leaving this movie

While Ed praised the latest Mission: Impossible instalment, he admitted that he wasn't the resident fan of the series. That's where I come in.

I said in my review of the first Mission: Impossible film that the franchise began as Hollywood's response to James Bond. Five movies in and they have cemented that fact, whilst becoming their own thing entirely.

I'm not going to go into plot details because you can read those on our official review. This is just going to be me explaining how much I love this movie and the reasons why. The first being the plot. I know, I know, I wasn't going to go into it and I'm not. But this movie's plot works really well. The franchise is known for its twists and turns, some you see coming and some you don't. All in all though, it's one hell of a roller coaster ride that will keep the adrenaline running throughout the entire film.

Secondly, Tom Cruise. Say what you will about him having an insane private life, but that doesn't distract from the fact that he is a really really good actor. And that stems from the fact that he loves what he does and it shows in his performances, but none so more than the character of Ethan Hunt. Hunt is Cruise's own character that he has perfected over the last twenty years and no one else could play him, making him the complete opposite of James Bond. What I love about Hunt in relation to Bond is that while he is almost an unstoppable machine, he is also infallible. Right from day one, the character has found himself in more dire situations than any character and Cruise puts himself in those situations for the authenticity, such as hanging off a flying plane. Insane!

Now specifically this movie is great because it is entirely self-referential to the entire series. There are overt and covert references to every movie, from a rabbits foot to a super subtle reference to chewing gum that will only appeal to die hard fans of the series. The film also throws in the famous mission giving sequence, but with a huge twist, thus throwing the entire conceit on its head. We also have a huge number of jokes about how this mission can't quite be impossible.

But what about all the other great characters in this movie. Well, as Ed said, Benji (Simon Pegg) is the stand-in for the main audience, always amazed at Ethan's complete and utter insanity as well as caring for him (although I have always found Ethan Hunt the more relatable character). Luther Stickell (Ving Rhames) is the other hallmark of the series bringing his dry, but funny charm to the movie (he also represents the long standing fan of the films). Brandt (Jeremy Renner) represents the audience members who try and think about these movies from a rational point, but failing to do so and in the end coming around to see things "the only way".

That brings me to the character of Ilsa Faust (Rebecca Ferguson). Instead of playing the usual "Bond girl" of the Mission: Impossible series, she is presented as a female equivalent of Ethan Hunt. She is often as ruthless as he, but her motives are also the same. What I love about this movie in particular is that there is no sexual element between Ethan and Ilsa as there has been in the past movies. He truly respects her and sees her as an equal, which I think is a huge step forward for a big Hollywood movie like this.

"Your mission should you choose to accept it...." is find a bigger fan of this film series than me. Because Rogue Nation just cemented my already strong love. I might even go so far as to say I love it more than Bond....

Mission Impossible: Rogue Nation

Smashing through the box office gates every few years comes the latest Mission Impossible flick, America's answer to Bond, just with less kissing and more gadgets. Mission Impossible: Rogue Nation hits screens this week with writer/director Christopher McQuarrie at the wheel. Will this prove to be the latest capstone in a strong series, or is Ethan Hunt getting as tedious as a school band playing the Mission Impossible theme?

After years hunting a mysterious group known as the Syndicate, Ethan Hunt (Tom Cruise) believes he has enough proof to confirm their existence. When reporting to a secret IMF station about his interception of a nerve gas shipment, he is captured by the Syndicate. Escaping in usual brawling fashion, he is assisted by a disavowed British agent Ilsa Faust (Rebecca Ferguson), and pursues the elusive blonde man that he saw just before he was captured, Solomon Lane (Sean Harris).

After a senate committee finds their actions reckless, the IMF is dissolved, with CIA director Alan Huntley (Alec Baldwin) picking up the pieces. William Brandt (Jeremy Renner) and Benji Dunn (Simon Pegg) are questioned about the whereabouts of Hunt, now a rogue agent, but neither crack and Ethan continues to evade capture. He tricks Benji into flying to Vienna for the Opera, however in reality it's a ploy to get Dunn's assistance in taking down the Syndicate. The two team up with Ilsa to infiltrate a high-security server that should assist them in tracking down Lane.

I'm not our resident MI fan, but having caught up on Ghost Protocol before meandering into this fifth installment, I was ready for some tense action, and it's safe to say that I wasn't disappointed. The pace is set in the opening sequence, which sees Hunt clinging for dear life to the side of a cargo plane as it takes off. It might not quite trump the Dubai skyscraper scenes from the previous film, but the tension remains palpable, especially when you realise that this was done for real, by cruise. This is followed up by a dramatic fight at the opera, claustrophobic chase sequences through the streets of Morocco and a free-dive into a giant water-cooled computer mainframe.

It's exhilarating stuff, as you would expect from McQuarrie (writer of The Usual Suspects and Valkyrie) and regular action-cinematographer Robert Elswit. The plot can turn on it's head without warning - as is typical with the series - leaving you constantly second guessing the motives of the array of different characters, and as long as you don't over-think it then it's great fun to follow along with. Although at times you do find yourself glossing over the current story and sitting back to anticipate the next action sequence, testimony to the effectiveness of the action.

Cruise continues to cheat his way through the ageing process, seemingly still in peak physical condition. He punches, kicks, dodges and flips his way through his enemies and of coarse, still does his own stunts. Benji and Ethan work closer than ever here as the IMF struggles to find solid ground yet again, and Pegg continues to be the most likable character in the series. Benji is ultimately the nerdy kid's channel into this world, operating his vast array of gadgets with occasional precision. Rebecca Ferguson's Ilsa is fast and nimble, taking down any enemy brute thrown at her, and Renner's Brandt....well he's sometimes useful. This seems to be a common issue with a lot of the supporting cast, namely that they really don't do that much. Alec Baldwin cracks open his 'annoying useless obstacle' persona which I haven't personally seen him do since the awful The Cat in the Hat film, and Sean Harris transforms into the stock-standard turtle-necked bad guy. His character develops less as a man who you expect to be foiled by his own heinous ambitions, and more as a lemming lining up waiting to be thrown off the cliff.

But the character assassinations are just nit-picking for an action film like this. Ultimately, Mission Impossible: Rogue Nation is a solid and visceral addition to the franchise that will keep you thoroughly entertained.