Strangers on a Train
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5 items from 2017

Liam Neeson-Fronted Thriller The Commuter Bumped To 2018

23 February 2017 3:04 PM, PST | We Got This Covered | See recent We Got This Covered news »

From the moment Pierre Morel’s Taken unlocked a very particular set of skills in Liam Neeson, the actor’s résumé has been a roller-coaster ride of triumphant highs (The Grey) and disappointing lows (Takens 2 and 3). But a patchy record has in no way cooled Neeson’s interest in the action genre, as he’ll soon be back, back, back, as an unassuming insurance salesman for The Commuter.

Pitched as North by Northwest meets Strangers on a TrainJaume Collet-Serra’s high-speed thriller was originally slated for a release in October, but we now have confirmation that The Commuter‘s journey won’t begin in earnest until January 12th, 2018. That’s a date it currently shares with Paramount’s animated flick Sherlock Gnomes, White Boy Rick and The Maze Runner: The Death Cure, which was hit with a delay of its own following Dylan O’Brien’s serious set accident. »

- Michael Briers

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‘The Commuter’: Lionsgate Moves Liam Neeson Thriller To January

23 February 2017 12:34 PM, PST | Deadline | See recent Deadline news »

Lionsgate said today that The Commuter, its thriller starring Liam Neeson, has moved from an October bow to January 12. Vera Farmiga co-stars as a mysterious woman who boards a commuter train and proposes an enticing opportunity to Neeson's character — one that has dire circumstances if he accepts. The film has Hitchcock-ian elements like North by Northwest and Strangers on a Train. Patrick Wilson, Sam Neill, Elizabeth McGovern and Jonathan Banks co-star in the film from… »

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Unforgotten review: a satisfying ending that lingers after the credits roll

9 February 2017 11:20 PM, PST | The Guardian - TV News | See recent The Guardian - TV News news »

All the strands came together in a gripping finale, with a solution to the murder that was as convincing as it was clever

So, in the end, Unforgotten (ITV) equals Strangers on a Train, the Patricia Highsmith novel/Hitchcock film – I’ll do your murder if you do mine, so as not to get caught, hopefully. Except there are three of them here, and they are not on a train. Strangers in an Ealing psychiatric unit, then; that’s where Sara, Colin and Marion met and hatched their plan, because these strangers were victims of sexual abuse as children. It ain’t no Ealing comedy, that’s for sure.

I hadn’t guessed it, and I had thought about it a lot, since the end of the last episode when Dci Cassie Stuart told DS Sunny Khan she thought she had cracked it. (Just after he had had a crack at her, »

- Sam Wollaston

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Unforgotten series two finale recap – a fascinating, devastating climax

9 February 2017 2:00 PM, PST | The Guardian - TV News | See recent The Guardian - TV News news »

What a brave close to this heartbreaking tale of abuse, crime and punishment. It wasn’t an easy watch, but why should it be?

So, it was Strangers on a Train after all (and so much more besides). A huge shout-out to Nevagray for calling that one as early as episode three. Any fears that this show would pull a Broadchurch with its second series were quickly dispelled. Unforgotten’s first run was a tough act to follow, but they have easily surpassed it. It feels like we have known Sara, Colin, Marion and Tessa far longer than six weeks and much of tonight’s episode was devastating. The themes – how people reinvent themselves, how the past writes the present, whether we can stop it – have been consistent across both series. Cassie and Sonny diligently excavating the past as the suspects desperately scramble to keep it buried provides the procedural cat-and-mouse here, »

- James Donaghy

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‘Detour’: Film Review

4 January 2017 11:33 AM, PST | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »

Borrowing its name from Edgar G. Ulmer’s low-budget hard-boiled classic and a key plot device from one of Hitchcock’s finest, Detour is a movie built from unabashed nods toward a thriller lexicon. But even with three of the big screen’s most dynamic up-and-comers at its center, there’s no flesh and blood beneath all the posturing. Christopher Smith’s self-consciously stylish genre homage finally feels like a baby film noir, playacting without the requisite bone-deep dread.

British writer-director Smith (Creep) uses a Strangers on a Train riff to set the dark and twisty road trip in motion. In the moody neon light of »

- Sheri Linden

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