Girl On The Train, The

In The Girl On The Train, a woman named Rachel (Blunt) questions everything she knows as she faces her terrifying past in the wake of a darkly mysterious event, to piece together the truth. Rachel, devastated by divorce, spends her daily commute fantasizing about the seemingly perfect couple who live in a house that her train passes every day. The mystery unfolds as she becomes increasingly un-hinged and serves as the unreliable sole witness to a tragic disappearance. Based on the book by Paula Hawkins. Also available in a 4K UltraHD Blu-ray version. (Gary Reber)

Special features include commentary with Director Tate Taylor, 14 deleted and extended scenes (HD 17:38), the featurettes The Women Behind The Girl (HD 05:04) and On Board The Train (HD 11:25), upfront previews, and an UltraViolet digital copy.

The 1.85:1 1080p AVC picture was photographed with the Arricam camera on Kodak Vision3 film stock. Its visual qualities are variable in terms of saturation and density, depending on the scene. The color palette is generally rendered with natural hues that enhance the realism of the suburban setting with lush greens and other earthy hues, contrasted with two-story houses of varying architecture. Clothing and other textures interiorly and exteriorly are naturally hued. Fleshtones are accurately rendered. Contrast is well balanced with deep blacks and generally revealing shadow delineation. Resolution is quite good, especially during close-ups of facial features, eyes, make-up, hair, clothing, and building textures. There are a lot of close-ups in the imagery that are quite dimensional and textured. While cinematic throughout, film grain is barely noticeable. This is a terrific filmic experience that projects an artistic cinematic appearance that is quiet satisfying visually. (Gary Reber)

The DTS:X/DTS-HD Master Audio™ 7.1-channel soundtrack is quite nuanced, with brief segments of heightened atmospherics and sound effects, such as a train in motion. Almost constantly is the presence of an orchestral score, which extends to the added two channels. Height infusion is very limited and virtually non-existent. Danny Elfman's orchestral score expands the soundstage to energize it entirely, but mostly at low levels. Dialogue narration and actual dialogue is the focus and is generally well integrated spatially. Low-end bass is mostly subtle but provides an effective bass foundation to the music score and sound effects. Surround engagement is pretty much limited to the music score and the train effects and to the climatic intense ending. Overall, this is a quiet dialogue-focused soundtrack with a brooding music score and moments of intensity, to support the disturbing emotional state of affairs. (Gary Reber)