In “The Woman in Cabin 10,” directed by Adam Green, audiences are drawn into a luxurious yet treacherous world aboard a glamorous yacht. The film tantalizes with a premise ripe for high-seas intrigue—after all, who wouldn’t want a mystery featuring a questionable cocktail of opulence and peril? Picture a glitzy soirée that takes a dark turn; it’s like hosting a party and accidentally inviting a ghost.
Based on the best-selling novel by Ruth Ware, this flick dives deep into the murky waters of trust and perception. Green, known for his knack in crafting suspense, manages to blend elements of thriller and comedy—like serving a dry martini with a twist of lemon; you think you know what’s coming, but it still puckers your lips in unexpected ways.
Our protagonist, Lo Blacklock, played with fervor by Ellie Bamber, is a travel journalist who witnesses a horrifying act aboard the ship. Naturally, this dizzying scenario doesn’t just come with a sea breeze; it’s accompanied by a storm of disbelief. “I saw a woman get thrown overboard!” she exclaims, only to be greeted with eye rolls that could rival a poorly designed carousel. As the ship glides over the North Sea’s desolation, the tension thickens like fog—a great visual metaphor for the murky waters of truth.
The cinematography by John Lewis is striking, capturing both the breathtaking views of the sea and the claustrophobic confines of the yacht with equal flair. Each frame feels like a carefully arranged still life, perfectly conditioned to evoke unease while splashing in a melange of vibrant color palettes. The editing rhythm ebbs and flows smoothly, much like the tides, amplifying the emotional ride while keeping our hearts racing.
As for the performances, Bamber shines as a woman spiraling into paranoia, nailing the frantic energy required for her role. The support cast, including the enigmatic Greta Lee and suspiciously charming Daniel Wu, adds layers of suspicion—filling the air with tension hotter than a sauna on a sunny day.
The film’s core theme revolves around the struggle between reality and belief—how easy it is to doubt one’s own senses in a world that’s eager to cast aside the truth. “No one believes me!” becomes a rallying cry that resonates with anyone who has ever had their sanity questioned, echoing like a haunting refrain that lingers long after the credits roll. The exploration of this theme reflects larger societal narratives about women’s voices being overlooked, setting the stage for a dialogue that transcends the screen.
Comparatively, “The Woman in Cabin 10” stands alongside films like “Gone Girl” and “The Girl on the Train” but falters slightly with some pacing issues that feel as long as a sea voyage without a destination. Yet, its engaging storyline and visual storytelling make it a delightful watch, even if it doesn’t quite reach the haunting depths of its predecessors.
So, score-wise, this film lands at a cheeky 6.2 out of 10. It’s a tasty morsel of suspense garnished with sprigs of humor. While it might not be the anchor of the genre, it certainly floats enough intrigue to keep you entertained. So grab your popcorn—just don’t forget your life jacket!
—
在《10号舱里的女人》中，导演亚当·格林带领观众踏入一艘奢华却危险的游艇，故事开场便引人入胜。影片以一个充满悬疑的设定切入，仿佛奢华的宴会因为恐怖事件而戛然而止；设想一下，邀请了一位幽灵参加派对，这样的冲突岂不是有趣至极？
改编自畅销小说《10号舱里的女人》，导演以敏锐的触觉将悬疑与幽默融入其中，仿佛为干马提尼加上了一抹柠檬的幽默感；你以为自己能预测剧情走向，却总能被意外的情节考倒。我们的女主角洛·布莱克洛克（由艾莉·班伯饰演）是一位旅游记者，目睹了一宗可怕的事件，而她的恐惧遭到船上其他人的怀疑。“我看见一个女人被扔下了船！”她愤怒地喊道，却只换来难以置信的眼神，犹如冷风中的滑稽表演。
在北海的荒凉水域中，紧张感如雾气一般弥散，成为真实与幻觉的绝佳隐喻。摄影师约翰·刘易斯在烘托气氛上绝不手软，既捕捉了壮观的海景，又展现了游艇内部的压迫感，每一帧镜头都像是精挑细选的静物画，充满了紧张的视觉张力。剪辑节奏流畅而紧凑，仿佛潮水那般起伏，放大了情感波动，让观众始终保持紧张感。
在表演方面，班伯充满激情地刻画了一个在怀疑与恐惧中挣扎的女人，她的表演尽善尽美，伴随着支持演员们的精彩表现，尤其是神秘的格雷塔·李和可疑但迷人的丹尼尔·吴，将悬疑的氛围加层加码，营造出一种如炙热桑拿般的紧张感。
影片的核心主题围绕着现实与信任的斗争展开，反映了在一个轻易就会质疑他人感觉的社会中，女性声音的被忽视。当
“没有人相信我！”成了主角的口头禅，也引发了与观众之间的共鸣。这种探索不仅让人们对角色产生同情，也引发了对更大社会问题的讨论，正是这种深度使影片的意义更加深远。
与《消失的她》和《火车上的女孩》等电影相较，《10号舱里的女人》略显乏力，在节奏上有一些拖沓，常常让人感觉像是进行了一场没有目的地的船旅。然而，影片充满引人入胜的故事和视觉叙事依然使其值得一看，尽管没有达到前者的深度。
综合来看，影片评分为6.2分。它是一道以悬疑调味的娱乐小菜，虽然在类型中未必能成为旗舰，但它却绝对有足够的悬念让观众乐在其中。因此，准备好你的爆米花吧——只需记得带上救生衣！
TMDB评分6.2