Almost two years ago, a thriller about the disappearance of a blonde housewife hit theaters. The film, based on a novel by Gillian Flynn, had become somewhat of a sensation in its popularity, praised for its shockingly unpredictable twists and turns. It is not a surprise that Tate Taylor’s film “The Girl on the Train,” based on Paula Hawkins’ novel, has been labeled as the next “Gone Girl.” But the comparisons are unfair — “Gone Girl” thoroughly eclipses “The Girl on the Train.”

True, Taylor’s previous films pale in comparison to those of David Fincher, director of “Gone Girl.” Fincher is somewhat of a dark, violent thriller specialist, having directed another thriller, “The Girl with the Dragon Tattoo,” as well as “Zodiac” and “Se7en.”

Meanwhile, Taylor’s best known work is 2011’s “The Help,” a feel-good film about strong Southern women in the turbulent American south of the civil rights era — interesting credentials for the man at the helm of a dark, gritty thriller.

Taylor’s past work shines a bit of a light on why “The Girl on the Train” fails to live up to the high standards set by “Gone Girl.” While the viewer might go into the film expecting edge-of-your-seat intensity, pulpy violence and flooring twists, they’ll instead receive a dreary mystery that, while never boring, is certainly depressing.

Rachel (Emily Blunt) is an alcoholic, lonely enough to create a personal connection to a woman she spies on from the train every morning on her commute to Manhattan. The woman, Megan (Haley Bennett), is beautiful. Megan’s life with her husband Scott (Luke Evans), as imagined by Rachel, is flawless and full of love — everything Rachel’s life is not since her divorce from Tom (Justin Theroux), who was cheating on her with the woman to whom he is now married, Anna (Rebecca Ferguson).

Tom and his new wife live in Rachel’s old house, two doors down from Megan and Scott. While the film does a good job introducing these characters and their relationships without confusion, the small-town, gossipy feel of the web of interrelated lives never goes away; this is a story about the small, private lives of everyday people seen from the train.

When Megan goes missing, Rachel, with no other drive in her life than to drink, becomes involved with the case. Indeed, she was involved from the start — the night Megan disappeared, Rachel had been wandering the streets of her old neighborhood, the last place Megan was seen. Rachel was also so drunk she cannot remember the events of that night — or why she woke up with an enormous bloody gash on her head the next day. Her grip on sanity is slipping, and she cannot fully trust herself — nor can the audience.

The film does a great job of keeping the true events of that night a mystery until the opportune moment. Megan’s life is, of course, nowhere near the fantasy Rachel had imagined for her, and the dark secrets she tells her psychiatrist (Edgar Ramírez) in flashbacks, as well as what Rachel uncovers in present day, keep the plot intriguing.

However, while the story seems to provide an opportunity for pulpy, gritty fun, the experience of “The Girl on the Train” is anything but. In fact, it’s almost dismal.

Following a depressed alcoholic in a desperate obsession with someone else’s tragedy is disheartening. Rachel is easy to pity because she is miserable, but hard to like. Blunt’s performance is admirable, but watching her cry in self-hatred loses its charm after a while. Megan’s story, too, and that of the entire film is almost tragic, so it’s not surprising that “The Girl on the Train” takes itself so seriously. With its grey, neutral colors and oversized sweaters and blanket scarves, the film feels like a dull autumn day without any much-needed sunlight. Even the sex scenes seem dreary.

Extreme violence in the final act, seemingly from nowhere, should feel shocking after such a drab journey to get there, but instead only adds to the film’s depressing tone.

Offering brief breaths of fresh air are Laura Prepon as Rachel’s roommate and Allison Janney as the detective on Megan’s case. Both are no-nonsense, cutting through Rachel’s drama and lies to get to the point.

“The Girl on the Train” isn’t a bad film. Its story and tone are drudging, but it’s well-acted, its plot is intriguing and the reveal is satisfying. But one should not enter the theater expecting a fun thriller. This is a movie about depression, abuse and suffering — small tragedies that happen daily, to every girl on the train.