THE GIRL ON THE TRAIN (2016)

Rated:  R

STARS: Emily Blunt, Justin Theroux, Rebecca Ferguson, Luke Evans, Haley Bennett, Edgar Ramirez
DIRECTOR: Tate Taylor
GENRE: Thriller

Watching a film adaptation of a book you've read is different than if you were totally unfamiliar with the story. Since you know all the plot elements, you pretty much are just looking to see how true the film is to the source material. We can say that The Girl On The Train, starring Emily Blunt, is a lot more faithful to the best-selling book by Paula Hawkins than any of the married characters in the story are to each other, with a couple of notable exceptions.

Rachel  is a lush of the first magnitude. A furtive alcoholic who blacks out and can't remember a thing about what she did the night before. In the book she's overweight and no longer terribly attractive. In the movie she's Emily Blunt. So there's the first change. They do a pretty good job of making her look haggard and stressed out, but she's still Emily Blunt. So who was going to put more butts in the seats--Melissa McCarthy or Ms. Blunt? The bottom line is still king.

Rachel drinks because of her divorce from Tom (Justin Theroux), who is now happily married to Anna (Rebecca Ferguson). She got fired from her job due to her drinking, but rides the train everyday from the suburbs to Manhattan to keep up the appearance of still being gainfully employed. (In the book it's London--that's the second notable change.) Along the route Rachel passes a house where a happy looking couple are frequently observed getting frisky on their back balcony. She entertains fantasies about who they are and what they are like. One day while riding by she sees the woman in the arms of another man. Rachel is shocked and disillusioned. Then the woman, whose name is Megan (Haley Bennett), disappears. There is a police investigation. Megan's husband, Scott (Luke Evans), becomes a suspect. But who was the other man Rachel saw Megan with on the balcony? She's going to get to the bottom of it (before she bottoms out herself). It's the stuff that taut thrillers are made of. 

Emily Blunt, surrounded by a cast of relative unknowns, turns in a gritty performance--one of her best. But as The Girl On The Train speeds toward its gotcha conclusion, much of the nuance of the characters in the novel is left at the station. 

Grade:  B 

JILL'S TAKE

From my perspective, the best thing about The Girl On The Train is Tim's review. Well done, Timoteo! There's always a danger of turning off an audience when the main character is so unlikable. And Emily Blunt's character is definitely not someone you'd want to befriend. Until the very end when the wife of her ex husband's boss, played by Lisa Kudrow of "Friends" fame, reveals a shocking truth.

Quite honestly, I went to this film with the wrong attitude, convinced that it would never be as good as the book. And I was right. That's the second danger with making a movie from a hit novel. Author Paula Hawkins' best seller was such a literary blockbuster that expectations about the movie version were unrealistically high. Even though screenwriter, Erin Cressida Wilson, wrote one of my all-time spooky film favorites (Secretary with James Spader and Maggie Gyllenhaal), many of the scenes in this thriller dragged on endlessly.

As I watched the final credits roll, I at least felt a frisson of recognition when I realized that the actor who played Emily Blunt's ex, Justin Theroux, is the current husband of Jennifer Aniston. My advice? Read the book and forget the movie...

Grade: C -

SICARIO (2015)

Rated: R

STARS: Emily Blunt, Benecio Del Toro, Josh Brolin
DIRECTOR: Denis Villeneuve
GENRE: Action/Thriller

There's an old song from the seventies by Dave Mason, with a refrain that goes: ...there ain't no good guy...there ain't no bad guy...and that seems to be the not so subtle point Sicario is making about the failed and misguided American war on drugs. 

Emily Blunt is Kate, an idealistic FBI agent who gets recruited to join an inter-agency task force that aims to bring down a brutal Mexican drug cartel jefe.  

To accomplish their objective, they must first make a foray into the most lawless and dangerous cesspool in the western hemisphere--Juarez--to kidnap one of the cartel's top men. As she is drawn deeper into the violence and moral ambiguity of the mission, Kate's ethical compass is spinning out of control. 

Blunt has shown she is capable of much more depth and nuance (in films such as Sunshine Cleaning and The Adjustment Bureau) than what this role affords her the opportunity to display. And I scratch my head as to why she was drawn to the film to begin with, other than maybe she's always wanted to play an action hero?   

The pros of Sicario are the gritty performances from Josh Brolin, as undercover CIA guy, Matt Graver;  and Benicio Del Toro, Matt's partner--a loose cannon intent upon exacting a personal revenge. The cons, in my opinion, are the grisly scenes of violence (unless you are pathologically drawn to that sort of thing, like SOME people I know), particularly the shocker near the end that only serves to attempt to justify the utter depravity that we, as humans, will resort to with our eye for an eye, end-justifies-the-means mentality.

 Bottom line...if you're thirsty for blood, forgo the latest vampire movie and see Sicario instead.    

Grade:  C

JILL'S TAKE

I can't imagine who Tim might be referring to when he talks about aficionados of violence! Me, I thirst after blood when it's part of the story. And, indeed, Sicario offers a lot of it. It also offers an abundance of confusion. Not just for Emily Blunt's character, who is kept in the dark for two-thirds of the film. I, too, was totally confused. As a rule, I like good villains (good as in nasty, cruel, sadistic, etc.). But I couldn't decide between Josh Brolin's perpetual sneer and Benicio Del Toro's squinty eyes. I will, however, give mucho kudos to Benicio (Benny for short) for his stellar performance.

For me, the real star of this vehicle was the scorer, Jóhann Jóhannsson, whose repetitive themes set a scary mood from beginning to end. Not unlike John Williams' theme in Jaws.

I walked away from this movie, fascinated by the fact that ISIS has now taken over the headlines. You don't hear much about the drug war south of our border these days. The fact that the biggest drug lord of them all, Joaquin "El Chapo" Guzman, who tunneled his way out of a Mexican jail nearly four months ago, is still on the loose is hardly mentioned. Guess that's the point of Sicario. You can't catch 'em all, even in the movies.

Grade: B

THE FIVE YEAR ENGAGEMENT (2012)

Rated: R
STARS: Jason Segel, Emily Blunt, Rhys Ifans, Chris Pratt, Alison Brie
DIRECTOR: Nicholas Stoller
PRODUCER; Judd Apatow
GENRE: Romantic Comedy


Romantic comedies typically are about two people on the verge of hooking up, while fate and one thing or another prevents them from becoming fully committed until the end. The Five Year Engagement centers primarily on the period after our couple has said "I will," as a precursor to saying "I do." So what we get instead of that romantic tension is the letdown of things beginning to unravel when their careers and other factors are pulling them in different directions. Kind of an anti-romcom in romcom's clothing.


What was hard for me to fathom from the outset was why--other than co-writer and co-star Jason Segel inserting himself opposite Emily Blunt again--these two are together. Segel is chef Tom Solomon, and his betrothed is Emily Blunt's Violet Barnes, a grad student in psychology. Tom is kind of a meatball--not quite on the scale of Kevin James in the TV sitcom King of Queens--but close, because he too is paired with a woman who is way out of his league.(The exquisite Emily Blunt is near the top of the food chain not only in looks, but certain intangibles that you can't quite put your finger (or fingers) on, but would like to!) So I don't buy them as a couple, appearance wise, and I didn't feel that on-screen chemistry either, which can often transcend the surface factors and render them believable.


Tom leaves a promising gig as a chef in San Francisco to follow violet to the frozen tundra of the University of Michigan, where she is in line for a post doctoral position in the psychology department. (Where they think they can draw conclusions about the emotional makeup of test subjects by whether they will or won't eat semi-stale donuts).It's only supposed to be for two years, so they will delay their nuptials a while. But as the film title has already revealed, that time frame will stretch on and on.


The only work in his field Tom can find in Michigan is making sandwiches at a local deli. You can sublimate your own dreams and self-esteem for the benefit of a mate for only so long before some resentment is bound to surface. And when Violet starts spending too much time with her advisor, the pontifical Winton Childs, (Rhys Ifans) and he makes a move on her, that's a recipe for disaster. 


Tom and Violet begin to second guess their commitment to each other, and that would have been a good place to end The Five Year Engagement, because these two weren't compatible to begin with. But Judd Apatow productions (Bridesmaids, Forgetting Sarah Marshall, et al.) have developed a reputation for having excess fat that maybe should have been trimmed--and true to form, The Five Year Engagement stretches into a seven course meal that makes us feel bloated at the end, as it slouches toward the conclusion we've already anticipated.


Not to imply that there aren't some laughs here. But the humor is so offbeat--peppered with all the obligatory F-bombs, whether they flow naturally from the material or not--that sometimes the audience laughed, and other times showed no reaction to what was obviously "supposed" to be funny.


Chris Pratt, as Tom's best friend, Alex, and Alison Brie, as his wife, (and Violet's sister) each give good turns here. They are both zany, and seem like two people who are better suited to being together.


But I think what I liked the best was Emily Blunt doing her impression of The Cookie Monster.


Grade:  C + 










  

THE ADJUSTMENT BUREAU--2011

Rated PG-13

Stars: Matt Damon, Emily Blunt, Anthony Mackie, Terence Stamp

Director: George Nolfi

Genre: Sci-fi/fantasy/romance

Do we live by fate or free will? Always a good topic to start a philosophical discussion--and no doubt many are ablazing as we speak, following the opening of The Adjustment Bureau.

A couple in hot monkey love must deal with unrelenting interference from those who disapprove of their union. Sound familiar? But it's not family members who want to break them up. No, look higher...you're getting warm...higher still...THERE YOU GO...it's none other than the BIG GUY! And God--referred to by his operatives, or angels (using the term loosely because one of them likes to shout SONOFABITCH a lot) here on earth as "The Chairman," has an agenda. A Master Plan as it were. The angels' mission is to enforce the plan by placing roadblocks in the couple's path at every turn. Of course, from our lowly vantage point we can't decipher what that plan--or the reason for it--is. We only know that He/She thinks that if promising congressman David Norris (Matt Damon) ends up with talented dancer Elise, (Emily Blunt) it will deal a death blow to both of their lofty ambitions. And when David is made aware of this, he must decide whether to go with his heart and pursue the relationship at all costs, or sadly and reluctantly back off and allow fate to run its course.

Ever have a chance encounter with someone and become instantly taken with them? David and Elise meet in a men's restroom where she is hiding out (don't ask). He is startled to find her there, but after a bit of small talk, they throw themselves at each other and engage in a passionate kiss! They are interrupted and he loses track of her, until one day he runs into her on a bus. She writes down her phone number, but the angels--who all wear business suits and fedoras--kidnap David and steal the number from his wallet and burn it in front of him. This is the kind of stuff they do, because apparently when you take on a human body, you don't have to be nice to people anymore. (And that explains a lot about certain women I dated...but I digress).

Three years pass before David finds Elise again, and when the "Adjustment Bureau" gets wind of it, they go into action to thwart the budding romance again. At some point, the couple have no choice but to go on the run and try to fight the system with the help of angel Harry, (Anthony Mackie) who becomes sympathetic to their plight. Fans of The Graduate will find the buildup to the climax of The Adjustment Bureau to be giddily familiar.

Emily Blunt as Elise is stunning, in ways that transcend mere physical attractiveness, and therefore deftly cast as the kind of woman for whom a man would give up everything.

Matt Damon seems to be at his best when his character is caught up in a web of intrigue and has to use all of his wits and resourcefulness to survive, and he is re-Bourne into a similar identity here.

George Nolfi, co-writer of The Bourne Ultimatum, has caught lightning in a bottle in his directorial debut.

The Adjustment Bureau is one of the freshest, just-go-along-for-the-ride surprises to come along in some time. And it will give you plenty of food for thought if you've ever felt you were absolutely MEANT to be with someone. Wing your way down to the theater and catch it!

Grade: A -

SUNSHINE CLEANING

Rose, (Amy Adams) who makes her living cleaning houses, and her quirky sister Norah (Emily Blunt) need to make more scratch--one of the reasons being that Rose's young son, Oscar, has to go to private school because he got kicked out of public school for licking the walls, licking the teachers, etc. The married guy Rose has known since high school days--and is currently having discreet sex with--is a cop, and he inspires the sisters to start their own lucrative crime scene clean-up service. It's a bloody job, but somebody's got to do it, and Norah and Rose make mopping up after murders and suicides as humorous as that sort of thing can be. Their Dad (Alan Arkin) raised the sisters on his own after their mother took her own life, so doing this kind of work brings up some emotional issues for them.

Just when you think the flick is going to go along like your run-of-the-mill dark comedy, something touching occurs. Rose comforts an elderly woman who's husband has just ended his life, and she begins to feel COMPASSION and EMPATHY for another person. This is the juncture where Sunshine Cleaning makes the unexpected leap forward into something altogether artistic and human.

Norah is an intriguing character in her own right. She scrambles up under a railroad trestle and plays chicken with the train that's thundering toward her. Another powerful scene. We observe that Norah is an adrenalin junkie--she just wants to FEEL something--probably due to the emotions she's repressed about her mother for so long.

The movie was produced by some of the same bunch that produced Little Miss Sunshine,
with Alan Arkin being the one holdover from that film, in which he won the Oscar for Best Supporting Actor. As the dad, he's a schemer and a dreamer, and those traits will figure into the ending of the picture-though his role here isn't large enough to garner a repeat of Oscar recognition.

Rose and Norah are looking for some closure, and as they move toward it, they get opportunities to gain some insight into themselves as well (such as Rose's true feelings about being good enough to be someone's sexual partner, but not good enough to be anyone's life partner).


The best films are the ones that can make you alternately (or simultaneously) laugh and cry,
and Sunshine Cleaning gets the job done.

GRADE: A


TIMMY'S TIDBITS: Amy Adams once worked as a hostess at Hooters (guess she thought it was classier than working at that place called "Boobs." )

Back in the day, Alan Arkin was lead singer of the folk group, The Tarriers. He co-wrote Harry Belafonte's huge hit "The Banana Boat Song" (or "Day-O" for those of you who know the lyrics but don't pay any attention to the title).