Based on a novel by Ruth Rendell (whose books also inspired Claude Chabrol «s «La Ceremonie» and «The Bridesmaid,» and Pedro Almodovar «s «Live Flesh «-RRB-, it seems to be closer to
a melodrama than a thriller, with comparisons already drawn to Douglas Sirk and George Cukor, which marks an interesting departure for the genre - hopping Ozon.
Not exact matches
More
melodrama than shear horror, this slick looking but far from Perfect urban
thriller shows a heel going from 0 to Psycho but its true villain proves to be the cliché.
Actor turned director Tate Taylor proves to be even less adept crafting mystery
thrillers than he does insincere period
melodrama with his third feature, The Girl on the Train, an adaptation of the bestselling pulp novel by Paula Hawkins.
It seems fairly obvious what roles each thesp will take with the promise of a character driven period drama featuring the two highly exciting considering what Crowley was able to do with «Boy A.» We're not familiar with the source material, but it sounds more
melodrama than her usual
thriller (the author, of course, was the writer of «Strangers On A Train» and «The Talented Mr. Ripley «-RRB-.
The review is available in Criterion's packaging of the genre - bending
thriller - cum -
melodrama, and is worth reading for no other reason
than to re-experience Kael's capacity to pair snarky jabs with eulogizing hurrahs.
This may not be surprising considering the norms of the
thriller genre, unfortunately it leaves the film feeling more like a Sunday tea - time
melodrama,
than the fascinating character
thriller it could have been.