The Woman in Cabin 10 Movie Review by Tavishi Paitandy I Kiera Knightly I Guy Pearce I Now Showing
Here’s Tavishi Paitandy’s review of #TheWomaninCabin10 starring #KieraKnightly and #GuyPearce, and directed by Simon Stone
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[Music] How far would you really go to prove what you saw was real? Especially when no one else believes what you did. That’s the unnerving question at the heart of the woman in cabin 10, Netflix’s psychological thriller film which is based on Ruth Wear’s 2016 novel of the same name, starring the ever elegant Kara Nightly. Nightly plays Laura or Lo as she’s called a serious journalist known for writing about the plight of Kurdish women. But after a traumatic incident where her source is killed for talking to her, Lo’s life spirals. So when she’s invited on the maiden voyage of a Norway bound luxury yacht, yes, one that’s literally called Aurora Boralius, she thinks, “Why not? A break from reality. Champagne under the northern lights. What could go wrong, right? Well, everything. One night, she sees a woman being thrown overboard. But here’s the catch. No one else seems to think that a woman even existed. Cue to the glass lighting, the paranoia, and the claustrophobic corridors. Guy Pierce plays billionaire host Richard Bulma, whose cancerstricken Aerys wife Anne is secretly plotting to cut him off. Suspicious much? Oh, it gets better. The rest of the passengers, glossy, indifferent, and rich, float around like props from a billionaire’s behaving badly documentary. Only Lo’s ex-flame Ben stands out. And not just because he’s the only one who seems remotely human. The film starts off promising, slick, moody, high production value like a Hitchcock mystery meets a woke shoot at sea. But soon the tension deflates faster than a punctured life raft. You keep waiting for that one clever twist, the nailbiting moment, the gasp. Instead, you get long aerial shots of the ocean. Beautiful? Sure. Thrilling? Well, not so much. Director James Horse uses muted tones, minimal lighting, and that endless sea to build atmosphere. The feeling of isolation is real. You almost feel trapped on that yacht with her. But the problem, that’s pretty much where the thrill stops cruising. To its credit, the film tries to explore something deeper. How trauma and medication blur reality and how women’s voices are often dismissed as overreacting. It’s a strong theme sadly buried under weak writing. Lo’s PTSD and flashbacks could have anchored the story emotionally. Instead, they feel like waves that never quite hit the show. But if you do stay till the end, it’s for Kyra nightly. Her stripped down bare-faced performance gives the film its only pulse. She carries every frame with quiet, haunted intensity, even when the screenplay doesn’t return the flavor. So, the woman in cabin 10 is less of a thrill ride and more a scenic cruise with mild turbulence. It wants to be Gone Girl at Sea, but ends up lost at sea instead. If you’ve got 95 minutes to spare and a soft spot for Chiron nightly, you might stay on board. Otherwise, you’re better off watching the waves. They’ll have more twists. [Music]