In practically four out of five reviews for "The Girl on the Train" I encounter, there's a comparison made with "Gone Girl". Understandable, of course, since both movies are based on recent best-selling novels by female authors, and moreover both stories are narrated by a female protagonist that isn't at all trustworthy and/or good-hearted. Other acceptable, but slightly less relevant, reasons for the comparison include that both films have stellar casts in front, and gifted directors behind, the cameras. Tate Taylor perhaps doesn't play in the same league as David Fincher just yet, but "The Help" left quite an impression already, and this one does too.
This is the tale of three women. Rachel is a painfully derailed alcoholic who cannot accept the failure of her marriage and the loss of her beautiful house in the suburbs. Anna is the new wife of Rachel's ex-husband Tom, and mother of the child Rachel couldn't give him. Megan is Anna's neighbor and nanny, and she struggles with mental problems and her secretive past. Throughout the film, there are many more elements that connect these three women. Rachel commutes daily to New York and passes by the houses of Anna and Megan. She hasn't met Megan personally but imagines her as the ideal woman living the perfect life. When she sees Megan with another man on her porch, her fantasy-scenario collapses, and she's infuriated by a woman she doesn't even know. But when Megan goes missing the next day, Rachel sees it as her duty to investigate. Small detail, though, can she exclude herself as a suspect?
It must be said "The Girl on the Train" quickly becomes rather predictable. Especially if you have some experience with watching or reading similar urban thrillers, it's rather easy to figure out the twists and mysteries. Luckily this isn't a blocker to enjoy the film, because the performances are fantastic and because Taylor nevertheless manages to maintain a high level of suspense and continuous uncomfortable atmosphere.
