The girl on the train

The Girl on the Train Survival Stories

The level of nervous energy exuded by “The Girl on the Train” is a dozen times higher than anything “Creation” can supply. This has less to do with the performances than with the attitude of the director, André Téchiné, who, at the age of sixty-six, approaches the exploits of his characters with a gusto, and a willingness to be led astray, that borders on the adolescent. The film is sliced into two parts, “Circumstances” and “Consequences,” but within that division there are frequent spinoffs, as we pull aside from the action and follow the flight of a minor figure, or even a moment of natural beauty, as if it were an idle train of thought. [...]

di Anthony Lane, articolo completo (2271 caratteri spazi inclusi) su The New Yorker 25 gennaio 2010