The Tomatometer rating – based on the published opinions of hundreds of film and television critics – is a trusted measurement of movie and TV programming quality for millions of moviegoers. It represents the percentage of professional critic reviews that are positive for a given film or television show.
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The Tomatometer is 60% or higher.
The Tomatometer is 59% or lower.
Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or higher after a set amount of reviews (80 for wide-release movies, 40 for limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
The location change feeds into the tone of Taylor's film, and not in a good way. The book zips along so fast one barely pauses to think too much about the events portrayed; on screen, the story chugs along with all the grace of a potboiler.
The Girl on the Train gets a couple big laughs in places I don't think were meant to be funny, and though Blunt, Ferguson, and Bennett are all doing what they can with the material, the movie is so poorly written there's no saving it.
Where The Girl on the Train distinguishes itself, though, is in its forthright presentation. With unbearably over-the-top performances and direction, in addition to an unfocused purpose underlying the story itself, it is an almost unwatchable mess.
Taylor is comfortable framing his actors in tight closeups, helping Blunt telegraph her emotional acuity, but less successful with building credible tension or suspense about the mystery at the heart of the story.
This could be the best performance of Emily Blunt's excellent career, but she's often too good -- enacting a woman far less likable and much more screwed up than Hollywood heroines are usually allowed to be. In fact, it's ultimately hard to root for her.