(pregnant movie) Film Dikejar Dosa - film jadul indonesia

(pregnant movie) Dikejar Dosa - film jadul indonesia

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Disclosure at the end of the course will answer all the questions at the beginning, but when you reach here, the suspense is already stripped and I was tired.

I think a basic introduction about the characteristics and properties of character alone is enough for us to understand how the disclosure at the end of a popular novel adaptation of this work Paula Hawkins. I might have missed something, but the plot elements in addition to the two it did not give a significant influence in the narrative for the film The Girl on the Train.

I can imagine how Hawkins definitely upset when people compare his work with popular from Gillian Flynn novel, Gone Girl. That may be a compliment, but in comparative law, which compared to always be number two. The director of The Girl on the Train, Tate Taylor did not have to get a similar outrage because this film is much more inferior than its adaptation Girl Gone David Fincher. As a whodunit thriller, the film barely any suspense and intrigue as psychological, flat character.

"The girl on the train" is Rachel (Emily Blunt), an alcoholic who spends time each morning and evening to commute train ride. While drinking alcohol, she likes to fantasize about a perfect family life, where once she had before her husband, Tom (Justin Theroux) divorced her and married again with Anna (Rebecca Ferguson).

This obsession makes Rachel likes peep (from the train, of course) one more perfect couple, Megan (Haley Bennett) sexy and super macho husband, Scott (Luke Evans) making out on the balcony of the house. Well coincidence, the couple lived next door to Anna and Megan is the babysitter of his children Anna.

One day, she saw Megan kissing another man. Is Megan cheating? Rachel was not sure because he was half drunk. Because no other more important things to do, of course Rachel stalking Megan in the garden and ... she fainted and did not remember anything, until a detective (Allison Janey) reported that Megan had disappeared.

Rachel believes she has an important role at the time of the incident. Could it be that the culprit is a therapist (Edgar Ramirez) who become mistresses Megan? Or even himself? A screenwriter Erin Cressida Wilson uses the same narrative structure of the novel. We brought leap past few months, a few days ago and the present irregularly to make matters more complicated. The film also uses three viewpoints of 3 heroine's sad, but the common thread remains on Rachel.

I believe this kind of narrative approach aims to mock the audience's perspective. When the narrator's unreliable, we do not know what and who to trust, especially when the three of them had each other's secrets. But Taylor did not serve the plot smoothly, making this narrative disorientation becomes confusing and tedious. Instead of like pieces of a puzzle that slowly strung, seem disjointed narrative. Characters Evans and Ramirez, for example, feels suddenly disappeared in the middle of the film and suddenly appeared at a later time.

Have not read the novel, I can only assume that these materials undergo trimming to fit the 112-minute length movies, including details of the characters. Lacked any character or how they see "the grass is always greener" probably intended to draw our empathy. But in the film, Taylor compensate overdramatisasi empty characterization, conditioning so that they beg the audience's attention. We just watched their lives openly like to watch soap operas. And this is a pity, considering Blunt all out as a complex woman who suffered physically and spiritually.

Disclosure at the end of the course will answer all the questions at the beginning, but when you reach here, the suspense is already stripped and I was tired. If you see moments that is not as dismal cover what was promised, I think the essence of The Girl on the Train is not about whodunit, but rather how these women who suffer this out of their false identity defined by men. See how the two of them form a sort of coalition in the end. Oh, but we did not care anymore with them.

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