The Girl on the Train is the story of Rachel Watson’s life post-divorce. Every day, she takes the train in to work in London, and every day the train passes by her old house. The house she lived in with her husband — who still lives there — with his new wife and child. As she attempts to not focus on her pain, she starts watching a couple a few houses down — Megan and Scott Hipwell. She creates a wonderful dream life for them in her head, about how they are a perfect happy family. And then one day, as the train passes, she sees something shocking, filling her with rage. The next day, she wakes up with a horrible hangover, various wounds and bruises, and no memory of the night before. She has only a feeling: something bad happened. Then come the TV reports: Megan Hipwell is missing. Rachel becomes invested in the case and trying to find out what happened to Megan, where she is, and what exactly she herself was up to that same night Megan went missing.
The Girl on the Train is the story of Rachel Watson’s life post-divorce. Every day, she takes the train in to work in London, and every day the train passes by her old house. The house she lived in with her husband — who still lives there — with his new wife and child. As she attempts to not focus on her pain, she starts watching a couple a few houses down — Megan and Scott Hipwell. She creates a wonderful dream life for them in her head, about how they are a perfect happy family. And then one day, as the train passes, she sees something shocking, filling her with rage. The next day, she wakes up with a horrible hangover, various wounds and bruises, and no memory of the night before. She has only a feeling: something bad happened. Then come the TV reports: Megan Hipwell is missing. Rachel becomes invested in the case and trying to find out what happened to Megan, where she is, and what exactly she herself was up to that same night Megan went missing.
1975. Two miles west of London, Dr. Robert Laing moves into his new apartment seeking soulless anonymity, only to find that the building’s residents have no intention of leaving him alone. Resigned to the complex social dynamics unfolding around him, Laing bites the bullet and becomes neighbourly. As he struggles to establish his position, Laing’s good manners and sanity disintegrate along with the building. The lights go out and the lifts fail but the party goes on. People are the problem. Booze is the currency. Sex is the panacea. Only much later, as he sits on his balcony eating the architect’s dog, does Dr. Robert Laing finally feel at home…..
The film follows a young, respectable doctor, Robert Laing [Tom Hiddleston] who moves into a new luxury apartment seeking anonymity. The building — a Brutalist concrete tower block — is inhabited by eccentric tenants who let off steam in endless rounds of themed parties and raucous, drink-and-drug-fuelled orgies. Sitting literally atop this insular society is the high-rise’s architect and owner — Mr. Royal [Jeremy Irons] — whose penthouse suite beggars description and has nothing to do with the rest of his design. As Robert settles into his new abode without ever really unpacking properly, the tower and its social complexities begin to take over his life.
Royal says he built the high-rise as “an agent for change,” but what Ballard and Wheatley both focus on is the class strife brewing between residents of the upper and lower floors. What starts out as competitive hijinks takes a turn toward tribalism and anarchy as the whole edifice begins to rot from within.
The film follows a young, respectable doctor, Robert Laing [Tom Hiddleston] who moves into a new luxury apartment seeking anonymity. The building — a Brutalist concrete tower block — is inhabited by eccentric tenants who let off steam in endless rounds of themed parties and raucous, drink-and-drug-fuelled orgies. Sitting literally atop this insular society is the high-rise’s architect and owner — Mr. Royal [Jeremy Irons] — whose penthouse suite beggars description and has nothing to do with the rest of his design. As Robert settles into his new abode without ever really unpacking properly, the tower and its social complexities begin to take over his life.
Royal says he built the high-rise as “an agent for change,” but what Ballard and Wheatley both focus on is the class strife brewing between residents of the upper and lower floors. What starts out as competitive hijinks takes a turn toward tribalism and anarchy as the whole edifice begins to rot from within.
Reserve Result. 