Cindy Prascik's Reviews of The Girl on the Train & The Birth of a Nation

Dearest Blog: Yesterday it was off to Marquee Cinemas for the buzzkill double-bill of The Girl on the Train and The Birth of a Nation. 

 

Spoiler level here will be mild, nothing you wouldn't know from the trailers. First on the docket: The Girl on the Train. An unhappy divorcee makes up stories about the people she sees on her daily commute, then becomes entangled in the case when one of them goes missing. 

 

The Girl on the Train is such a pedestrian mystery that, never having been anywhere near the novel, it took me approximately 23 minutes to clock exactly how it was going to play out...and that was far from my final check of the time, believe me. 

 

Emily Blunt plays the titular girl as a sloppy, irritating drunk, and the supporting characters are so odious it's impossible to care what happens to any of them. (Though I'd forgive Luke Evans for pretty much anything once he started peeling off those clothes.) 

 

A few laughable bits--including a full-on Cameron Frye moment in a gallery--spell a miserable whole that plods along with varying versions of events. Who's telling the truth? Who's lying? 

 

You'll stop caring long before this mess crawls to its predictable finish. About the only things The Girl on the Train has to recommend it are a properly menacing score by Danny Elfman and a couple frames of Evans' glorious bod. 

 

The Girl on the Train runs an excruciating 112 minutes and is rated R for "violence, sexual content, language, and nudity." The Girl on the Train is a slow, dull exercise that made me want to throw myself on the tracks. 

 

Of a possible nine Weasleys, The Girl on the Train gets four. 

Fangirl points: Luke Evans. Luke Evans' abs. Luke Evans' bottom. 

 

Also, a girl in a Damned shirt...yay! Next up: The Birth of a Nation. The true story of Nat Turner, a slave and preacher who orchestrated a rebellion in 1831. 

 

The Birth of a Nation is difficult to watch, and more than once I had to look away from the brutality and abuse. Performances are fantastic across the board, with Nate Parker and Aja Naomi King outstanding in the leads, and Armie Hammer his usual reliable self in an important supporting role. 

 

Turner's Christian faith is central to the story, but the movie also exposes the contradictory nature of the Bible and those who presume to speak for their gods. 

 

The subject matter is unpleasant enough to make the film feel much longer than it is; for the duration I kept thinking the last thing we really need right now is yet another reminder of how horrible people can be to one another. 

 

Only afterward did it occur to me, maybe exactly what we need right now is a reminder of what happens when people are encouraged to treat others as less than themselves. 

 

The Birth of a Nation clocks in at an even two hours and is rated R for "disturbing violent content and some brief nudity." The Birth of a Nation is a well-acted picture with a timely, important message, but, sadly, none of that makes it a truly great movie. 

 

Of a possible nine Weasleys, The Birth of a Nation gets five. .

 

 Fangirl points: The aforementioned Armie Hammer. Mark Boone Junior (Bobby Elvis)! 

 

Until next time... 

 

MOVIE REVIEW: THE GIRL ON THE TRAIN

In the thriller, Rachel (Blunt), who is devastated by her recent divorce, spends her daily commute fantasizing about the seemingly perfect couple who live in a house that her train passes every day, until one morning she sees something shocking happen there and becomes entangled in the mystery that unfolds. Based on Paula Hawkins’ bestselling novel, The Girl on the Train is adapted for the screen by Erin Cressida Wilson and Taylor. The film’s executive producers are Jared LeBoff and Celia Costas, and it will be released by Universal Pictures.

Director: Tate Taylor

Cast: Emily Blunt, Rebecca Ferguson, Haley Bennett, Justin Theroux, Luke Evans

Release Date: Oct 07, 2016

Rated R for violence, sexual content, language and nudity

Genres: Suspense/Thriller

Review:

Is it possible to make an interesting movie with a cast of characters who are all unlikable and fairly terrible?  The Girl on the Train tries really hard to pull it off and has a decent amount of success even if the “mind blowing” twist is telegraphed fairly early on.  Tate Taylor is clearly trying to emulate David Fincher’s Gone Girl but he’s not as talented a filmmaker to make it work.  As is, the film is a surprisingly engrossing tale of bad people doing bad things repeatedly.  Taylor’s real talent is getting some truly impressive performances out of his cast especially Emily Blunt.  Blunt is incredibly impressive throughout with multiple scenes set up to showcase her acting chops.  Haley Bennett, who looks distractingly like a Jennifer Lawrence clone, is just solid even though her character feels unwritten.  It’s a shame because the character seems to be most interesting of the group.  The Girl on the Train is trying it’s hardest to be some special but it never quite gets there.

B-

Cindy Prascik's Review of Hardcore Henry

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Dearest Blog: With this weekend's promising new releases opening nowhere near me, yesterday it was off to Marquee Cinemas for the...um...less-than-promising Hardcore Henry. Spoiler level here will be mild, nothing you wouldn't know from the trailers.

 

A man awakes in a laboratory to discover he's acquired a bunch of robot parts, but lost his memory.

 

Dear Reader(s), I'ma be straight with ya: With time to spare between halves of yesterday's double-feature, I stepped out of Harcore Henry, sat in the hallway, and wrote something akin to Spinal Tap's infamous "S**t Sandwich" review. However, the well-stated enthusiasm of one of my cinema buddies caused me to give the movie some additional thought, and, with thanks to Paul at Marquee, here's a more considered opinion.

 

Hardcore Henry is quite unique. Shown entirely through Henry's eyes, the viewer sees all the wiggly-jiggly action in the first person. While that's not always a great choice for your viewing enjoyment (and thank heavens it's not in 3D!), the filmmakers get full marks for commitment and attention to detail. Every bit looks entirely authentic. 

 

Sharlto Copley is his usual brilliant self, changing personalities like I change my socks. Like Sebastian Stan, Copley is a fantastic actor who usually deserves better than the projects he or his agent chooses, but, on the plus side, even a bad movie is so much better for having him. The action sequences are very well-choreographed, and the film is also smart enough not to wear out its welcome, clocking in at a quick hour and a half.

 

Now, the bad news: the violence and portrayal of women in Hardcore Henry are straight out of a teenage boy's dream. Even I--Number-One Expendables Fan--have to admit that the pointless chaos wears thin pretty quickly. The picture’s clearly more interested in grabbing your attention with something weird or shocking than keeping it with a well-thought-out story; the plot is riddled with holes and bizarre moments that make no sense...even in the context of something that makes so little sense overall. 

 

Minus anything more substantial underlying it, the incessant brutality is a lot to take, and the non-stop action can't save the movie from being a bit of a bore. 

 

Hardcore Henry runs 96 minutes and is rated R for "non-stop bloody brutal violence and mayhem, language throughout, sexual content/nudity, and drug use." 

 

Harcore Henry certainly isn't everyone's cup of tea, but, if you're looking for something well and truly different at the movies, it might just be for you. Of a possible nine Weasleys, Hardcore Henry gets three.

 

Until next time...