There is something to be said for watching a film solely for the acting. Sure – it is more fun when the story is interesting and not entirely predictable. But sometimes even a common story can gain uniqueness when it is portrayed by excellent performers.
Transsiberian, the latest from Next Stop Wonderland director Brad Anderson, survives on this principle.
The plot has been done before – many times. A well-intentioned couple taken out of their normal surroundings unwittingly gets mixed up in a plot of deceit and corruption that tests their wits and loyalty, but eventually makes them better and stronger.
This time, the unwitting couple – Roy and Jess – are portrayed by Woody Harrelson and Emily Mortimer. Known most for his controversial roles of the past (ie Larry Flynt, Mickey Knox), Harrelson is given the task of portraying an overly-optimistic simpleton who loves old railroad 
trains and corny jokes. His performance is one-dimensional but entertaining. Mortimer’s Jess, on the other hand, is the member of the duo with demons to fight. Mortimer gives the character a real sense of conflict – one part of Jess hates who she used to be, but another part seems desperate to let the old vices re-emerge.
A supporting performance from Spanish actor Eduardo Noriega helps to further make the “I can already see where this is going” factor of the film a little less annoying. While it is obvious from the moment he is first seen that Noriego’s Carlos is dangerous and fit with a hidden agenda, the character is played with such charm that one hopes for his change of heart.
Aside from a good cast, there is also something to be said for the atmosphere of Transsiberian. With most of the action taking place on a railroad train traveling between China and Moscow, the film is saddled with an intentional claustrophobia and sense of focus that works to its overall advantage. The touch of Spanish cinematographer Xavier Giménez conjures Hitchcock. One of the most striking moments of the film actually involves no actors; Near the end of the film, a shot of a horse on a snow covered mountain is suddenly shattered by the roaring locomotive coming around the prairie, shot at such an angle that the train seems to appear out of nowhere. The brief moment has strong visual and figurative power.
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