I know. I KNOW. Ever since seeing the trailer for the mystery thriller “Murder on the Orient Express,” a question has been nagging at you. It’s not who among a diverse array of actors including Judi Dench as a Russian princess, Willem Dafoe as a German professor, Penelope Cruz as a depressed missionary and Johnny Depp as a thuggish art dealer, is the killer. But why has a small furry mammal disguised as a magnificent beast of a handlebar mustache in 50 shades of silvery gray taken up residence under Kenneth Branagh’s nose? The hair apparent seems specifically designed to practically steal every scene it appears in during this sumptuous yet ultimately stuffy and overstuffed big-screen return visit to Agatha Christie’s most durable novel. It's even responsible for the film’s best sight gag. If Branagh, the star and director behind the 21st-century digitally-enhanced stab at bringing this ensemble vehicle back to life wanted to make a statement to distinguish this take on his world-famous Belgian detective Hercule Poirot from any other, he certainly has. In the 1974 movie adaptation helmed by Sidney Lumet, Albert Finney sported a pert black swatch with Dali-esque twirls at the ends. Boring, right? Branagh’s fuzzy wuzzy is like an ocean wave of whiskers, from ear to shining ear. Best supporting player? That honor goes to that dashing splash of a soul patch on his chin. OK, I am stalling. Let’s accentuate the positive first. The script by Michael Green “Blade Runner 2049” does a bang-up job of introducing us to Poirot, a fuss-budget stickler who demands perfectly cooked four-minute eggs and tsk-tsks their imperfect dimensions—and then doesn’t even bother to eat them. He is a control freak who insists on balance in everything, from how a tie sits around a man’s neck to impeccably baked bread. The place is Jerusalem actually, Malta as a stand-in and the year is 1934. Poirot is at the Wailing Wall about to deliver the solution to a crime tied to three clerics of different faiths and a stolen artifact. With the showbiz panache of a Vegas magician, he reveals the perpetrator with an unexpected flourish involving a cane. That sends the message, “Hey, this could be fun.” But matters get perfunctory rather quickly when fellow passengers whose baggage clearly includes secrets begin to pop up, including Daisy Ridley Rey in “Star Wars The Force Awakens” as a porcelain-skinned governess and Leslie Odom Jr. Aaron Burr in Broadway’s “Hamilton” as a doctor who attempt to disguise they are an interracial couple. Those marquee credits are bound to draw in the under-30 demographic. But, alas, the only fully fleshed-out being turns out to be Poirot, who moons over a portrait of a lost love and undergoes an existential crisis of sorts when he finds himself unexpectedly confounded when a dead body turns up on the train with an even dozen stab wounds. The luxury locomotive traveling from Istanbul to Calais also comes to a halt about a half-hour in when an avalanche causes it to stop in its tracks atop a dangerous trestle. I wish I could say that the storyline at least picks up steam, but it never quite does especially since it devolves into a series of private interrogations by the imperious Poirot in a café car. Michelle Pfeiffer does what she can as a man-hungry rich widow searching for her next husband. Derek Jacobi and Josh Gad conspire as a valet and assistant to Depp’s scar-faced hoodlum. Other performers barely have the presence or enough dialogue to make much of an impression including the incredibly talented Olivia Colman as Dench’s lady in waiting. In addition, there are veiled allusions to the 1932 kidnapping of aviator Charles Lindbergh’s baby son, which few besides history buffs will recognize today. Branagh, the actor, comes through unscathed. Branagh, the director, not so much. He did wonders with making Shakespeare relevant for young audiences with his “Henry V” and found a way to make Disney’s live-action “Cinderella” seem fresh and new. But despite camera trickery with ineffective overhead shots and a long one-take scene as Poirot boards the moving train, there is too little levity and cleverness afoot, especially with a cast whose talent is barely tapped. The key isn’t whodunit but how you do it. However, that mustache—which even grows limp and messy when matters get dicey for Poirot—deserves a place in the pantheon of great follicle-ly enhanced performances. Perhaps it could sit alongside George Clooney’s waxed-to-perfection facial accoutrement in “O Brother, Where Art Thou?” As for “Murder on the Orient Express,” it squeaks by as passable entertainment by just a hair. Susan Wloszczyna Susan Wloszczyna spent much of her nearly thirty years at USA TODAY as a senior entertainment reporter. Now unchained from the grind of daily journalism, she is ready to view the world of movies with fresh eyes. Now playing Film Credits Murder on the Orient Express 2017 114 minutes Latest blog posts about 1 hour ago about 4 hours ago about 5 hours ago 1 day ago Comments
Murderon the Orient Express, 2017. Directed by Kenneth Branagh. Starring Kenneth Branagh, Johnny Depp, Penélope Cruz, Willem Dafoe, Judi Dench, Josh Gad, Leslie
TRAILER 237 CLIP 204 CLIP 214 CLIP 214 Play all videos What to know Murder, intrigue, and a star-studded cast make this stylish production of Murder on the Orient Express one of the best Agatha Christie adaptations to see the silver screen. Read critic reviews Rent/buy Rent/buy Rent/buy Murder on the Orient Express videos Murder on the Orient Express Official Clip - The Night of the Murder CLIP 204 Murder on the Orient Express Official Clip - Colonel Arbuthnot CLIP 214 Murder on the Orient Express Official Clip - Stabbed Twelve Times CLIP 214 Murder on the Orient Express Official Clip - Ratchett's Murder CLIP 208 Murder on the Orient Express Official Clip - They're All Connected CLIP 142 Murder on the Orient Express Official Clip - The Armstrong Case CLIP 140 Murder on the Orient Express Official Clip - Getting Away with Murder CLIP 157 Murder on the Orient Express Official Clip - Poisoning Ratchett CLIP 211 Murder on the Orient Express Official Clip - Memories of Murder CLIP 159 Murder on the Orient Express Official Clip - Ratchett's Request CLIP 210 Murder on the Orient Express Trailer 1 TRAILER 237 Murder on the Orient Express Photos Movie Info Having concluded a case, detective Hercule Poirot Albert Finney settles into what he expects will be a relaxing journey home aboard the Orient Express. But when an unpopular billionaire is murdered en route, Poirot takes up the case, and everyone on board the famous train is a suspect. Using an avalanche blocking the tracks to his advantage, Poirot gradually realizes that many of the passengers have revenge as a motive, and he begins to home in on the culprit. Rating PG Genre Mystery & thriller Original Language English United Kingdom Director Sidney Lumet Producer John Brabourne, Richard Goodwin Writer Agatha Christie, Paul Dehn, Anthony Shaffer Release Date Theaters Nov 24, 1974 original Release Date Streaming Sep 7, 2004 Runtime 2h 7m Distributor Paramount Pictures Production Co EMI Films Ltd. Sound Mix Mono Aspect Ratio Scope Cast & Crew News & Interviews for Murder on the Orient Express Critic Reviews for Murder on the Orient Express Audience Reviews for Murder on the Orient Express Aug 07, 2017 Christie's flaws as a writer are only magnified in the film adaptions of her work In short, she cheats a lot and this one is no exception. That being said, Finney's Poirot is delightful. Super Reviewer May 10, 2017 A little bit of a revenge fantasy dressed up with loads of star power. Unfortunately the story is lame and unbelievable. Still its good to see the stars out. Ingrid Bergman and Albert Finney actually take the trouble to bother to act. Sep 13, 2016 Classic old fasioned whodunit based of the Agatha Christie novel of the same name. The cast is superb and Lumets direction is unquestionable brilliant. That finale where the clues are put together keeps you glued to the screen with every new beat. This is a pinnacle in detective films and I wish every film had this brilliance, who get swept up in the story that you forget to find the clues yourself. Mar 31, 2014 This is a film adaptation of one of many of Agatha Christie's Hercule Poirot stories, and it's one star studded affair. This particular caper follows Detective Poirot as he investigates the titular event a wealthy man is found dead on the train, the Orient Express. There's a number of possible suspects, each with their own motives, and it's up to Poirot to figure out who is responsible. Albert Finney is Poirot, and some of the other major players include LAuren Bacall, Ingrid BErgman, Sean Connery, Jacqueline Bisset, Richard Widmark, Vanessa Redgrave, and many more. The film is a good bit of fun, and it has a nice look to it, with some decent shooting, and yeah, the central murder mystery is decently engaging too. I'll admit that things get a little slow, bogged down, and a tad bit boring in the middle, but if you happen to fall asleep, things get wrapped up and summarized before the big finish, so that's okay too. All in all, this is a fun, ensemble spectacle that you should give a watch. Super Reviewer
Setin 1934, Murder on the Orient Express is an old-fashioned whodunit. As such, it takes its good old time in unraveling the central mystery. Although there's little action, Branagh-- who also directed -- keeps the story humming along with lush, exquisite visuals (the film was shot in widescreen 65mm); long, mesmerizing tracking shots; and crackerjack performances from
There is a moment early in Kenneth Branagh’s intricately constructed adaptation of Agatha Christie’s classic whodunnit when Hercule Poirot Branagh stands on the deck of a ship as it leaves Istanbul. Poirot is captured center frame The deck, the railing, the adjacent cabin and the sea itself are balanced perfectly around him. The shot is illustrative of Murder on the Orient Express as a whole, which centers upon Poirot as the audience’s guide through the cinematic lattice, and also as the center of the film’s thematic and indeed philosophical exploration. As one would expect in a detective drama, Poirot provides the balance between mystery and understanding, but this conceit goes further, as this very balance becomes less steady and understanding less certain as the narrative unfolds. The twists and turns of the story are well known to many. This reviewer, however, had the pleasure of not knowing the story at all and therefore encountered the titular murder and subsequent investigation as a series of reveals and genuine surprises. Even those familiar with the story, however, may find much to enjoy with Branagh’s stylish presentation and delivery. Director of photography Haris Zambarloukos creates a mobile and captivating cinematography, including some extraordinary overhead shots that delay showing the full extent of a scene just long enough for the viewer to cease expecting it, before the camera pans to reveal further details. Zambarloukos also captures much of the film in long takes reminiscent of the work of Emmanuel Lubezki in “Birdman” and “The Revenant.” Like the latter of these, a cold and snowy environment enshrouds the events of Murder On The Orient Express, vast mountains dwarfing the eponymous train as it moves with a smooth motion similar to that of the camera. This fluid visual style neatly complements the wattage of the starry cast who play the passengers aboard the famous train, all of which are neatly sketched and provide a colorful collection of characters. From Johnny Depp’s “Pirates of the Caribbean Dead Men Tell No Tales” oily Edward Ratchett who spars words with Poirot over cake, to Judi Dench’s “Victoria and Abdul” haughty Princess Dragomiroff and her seemingly downtrodden maid Hildegarde Schmidt Olivia Colman, “Tyrannosaur”; from Michelle Pfeiffer’s “mother!” overly garrulous Caroline Hubbard to regular Branagh collaborator Derek Jacobi’s “My Week with Marilyn” Edward Henry Masterman; from Willem Dafoe’s “The Florida Project” curiously accented Gerhard Hardman to Daisy Ridley’s “Star Wars The Last Jedi” stellar turn as the cool and collected Mary Debenham, each passenger/suspect is more than they seem and provides an excellent foil to Poirot. Yet the film ensures that Poirot himself is also layered, as a constant strain of melancholy plays behind Branagh’s searching eyes and flamboyant mustache. Poirot’s remarkable deductive abilities and suggestions of obsessive compulsive disorder are balanced with regular references to a photograph of a lost love, and a broader sadness at a world that he believes is not how it should be. This belief feeds into the philosophical investigation of Murder on the Orient Express, which seems to develop in response to Poirot’s a rather naïve moral perspective, expressed early in the film “I can only see a world as it should be. It makes an imperfection stick out like the nose on your face.” His view proves highly significant, as while the viewer may agree or disagree with Poirot, it makes sense that a detective would create a mental construct as a bulwark against the contradictions and iniquities that Branagh’s character encounters. But as Poirot and the audience learns, if no one is what they seem, perhaps the world at large is similarly dubious and possessed of shades of gray. This conceit plays into the visuals, as at times the largely digital exteriors are at odds with the physical interiors. Jim Clay’s production design evokes a sense of period, location and society, but the digital effects seem overly pristine and smack of artifice, modernity and transience. Yet this tension is thematically effective as Murder On The Orient Express is acutely interested in the tensions between artifice and reality. Many shots capture the characters through multi-paned windows, expressing the multiple roles they play and the various perspectives available, both narratively and morally. The film emphasizes such relativity in moments when Poirot reconstructs the events of the titular and other crimes, in a manner similar though more reserved than that seen in “The Limehouse Golem” earlier this year. Also unlike that film, Murder On The Orient Express eschews gore, which again supports the somewhat conservative morality that Poirot puts forward, and adds further meat to the philosophical meal. So much visual and narrative backflipping might become wearing if without purpose, but where the film goes with this perspective proves to be arresting and feels quite radical. At one point there seems to be a resolution that feels somewhat anticlimactic, but more is still to come before Branagh/Poirot delivers the coup de grace that is both expected yet refreshing and pleasingly ambiguous. This ambiguity undercuts the overtly artificial construction of the film’s milieu, demonstrating that standards of morality and ethics may be as much a construct as the mechanisms of a railroad, or indeed a plot. It is the film’s philosophical investigation, that perhaps Ludwig Wittgenstein might enjoy, that elevates Murder on the Orient Express into something special. Combined with his starry cast, intricate and vivacious storytelling, Branagh has breathed new life into a classic story, making it fresh, vibrant and relevant.
Watchedto prepare for Death on the Nile. What a cast! I kept drifting off midway in parts through because after Johnny Depp dies this movie gets dull fast (spoilers). And I was annoyed by the constant overhead shots that Branagh liked to use here. The cast isn't bad or awful, but the movie is painfully mediocre and uneventful. The CGI train derailment scene must have been
The director and star Kenneth Branagh’s remake looks great but feels utterly Branagh in Murder on the Orient Express 20th Century FoxIn cinema, as elsewhere, there can be too much of a good thing. Quick Do you remember the film several years back that starred Judi Dench, Penélope Cruz, Daniel Day-Lewis, Marion Cotillard, and Nicole Kidman, among others? If you recall that it was Nine, the director Rob Marshall’s musical follow-up to his Academy Award–winning Chicago, well good on you. I can scarcely summon any memory of the film ReadingThe director Kenneth Branagh’s remake of Murder on the Orient Express labors under the same delusion that cinematic quality is arithmetical Dench and Cruz are both here again, as are Branagh himself, Michelle Pfeiffer, Johnny Depp, Daisy Ridley, Josh Gad, Derek Jacobi, and God knows how many others who are currently skipping my mind. If movies truly were math, this would be a they aren’t, and it’s not. Branagh’s retelling of the classic Agatha Christie tale is visually sumptuous yet otherwise inert, a series of what are essentially cameos by performers far too gifted to waste their time like this. There should be a law against casting Judi Dench in a film and then giving her virtually nothing to plot is familiar, even to those who have neither read the novel nor seen Sidney Lumet’s famous 1974 adaptation starring Albert Finney The year is 1935, and 13 apparent strangers are sharing a carriage on a train from Istanbul to Calais. One of them is murdered in his cabin with a dozen stab wounds, and the rest are trapped on the train by a snowdrift that has blocked the tracks. Who among them is the killer? Fortunately, among them is also Hercule Poirot Branagh, and he will solve the mystery because that is what he movie opens with an introductory scene in which Poirot is called upon to solve a mystery involving a priest, a rabbi, an imam—yes, the requisite “walk into a bar” joke is made—and the theft of a sacred relic. In the process, we are introduced to the idea of Hercule Poirot, inveterate perfectionist He carefully measures his two boiled eggs to ensure they are the same size; having stepped in a dung patty with one foot, he carefully places the other foot in it as well to preserve “balance” in the philosophical rather than ambulatory sense. Asked how it is he is able to deduce even the most hidden truths, he replies, “I can only see the world as it should be. And when it is not, imperfection stands out like the nose on a face.”The film is a reasonably faithful adaptation of the novel, and some of its variations are improvements. Two characters—a doctor and a soldier—are usefully melded into one, and a secondary stabbing is introduced to good effect. Other alterations, alas, seem more like concessions to the temper of the times a chase through the trestles of an alpine bridge; a fight and gunshot wound; a pointless backstory about Poirot’s lost love; and an extended bout of moral handwringing once the mystery has been the most dispiriting way in which the film diverges from its source material is in the person of Poirot himself. Christie’s Poirot was a somewhat comical figure, a short man five-foot-four, to be precise with a head “exactly the shape of an egg,” and a meticulously waxed mustache that curved up into two points. Branagh’s Poirot keeps the mustache—indeed, pushes it beyond absurdity, now curling up into six points—but otherwise he looks pretty much like movie-star Kenneth Branagh. He’s adopted the habit, a la Sherlock Holmes, of wowing strangers by intuiting their origins and professions on the basis of minute physical details. And, also like Holmes, he’s become adept at physical flatly heroic portrayal of Christie’s odd little Belgian detective might be less annoying if it didn’t smack of directorial vanity on Branagh’s part. So, too, might the fact that Branagh accords himself more screen time than all his illustrious costars combined. This latter defect would arguably be hard to avoid Finney, too, dominated the all-star cast of the 1974 version, even if Ingrid Bergman walked away with a thoroughly unearned Oscar for supporting actress. Is this unfair to Branagh? Perhaps. But it is the tightrope to be walked in self-directed star turns in movies that aim to be on the Orient Express is not a bad movie per se, merely one that feels self-indulgent and thoroughly unnecessary. Or perhaps it’s just me I can only see the movie as it should have been. And when it’s not, its imperfections stick out like the nose above a six-point mustache.
Bagipenggemar novel-novel karya Agatha Christie, pasti mengetahui bahwa Murder on the Orient Express pernah diangkat berkali-kali dalam bentuk drama, TV, bahkan Sidney Lumet pernah membawa film ini mendapatkan Oscar di tahun 1974.Jadi sebenarnya, pada saat Kenneth Branagh (sutradara dan juga pemeran Hercule Poirot di film ini) dia sudah tahu
Richard LawsonDec 9, 2017 Murder on the Orient Express isn’t a bore, exactly. It’s just not what it might have been had simplicity won the day instead of big intentions.
Murder she wrote, and Hollywood loved her for it. Or they used to, at least — plundering Agatha Christie’s vast catalog of posh, stabby whodunits for
Story Based on Agatha Christie’s celebrated crime mystery novel, the film revolves around the murder of a dubious businessman aboard the luxurious first class compartment of the Orient express. With almost every co-passenger being a suspect, Belgian detective Hercule Poirot’s Kenneth Branagh sharp deduction skills are put to test once Loaded with mysterious intentions, cheeky humour, clever repartee and an ensemble cast that comprises some of cinema’s biggest names, Murder on the Orient Express makes for an intriguing watch. Strangers being stranded on a stalled train makes for a great premise, given the thrill of finding a killer lurking this dangerous train ride has its own delays if not derailment. Kenneth Branagh who plays the most crucial character of Poirot and directs the film as well, looks like he is trying to bite off more than he can he manages to infuse the necessary underlying tension, awkwardness and silence between his characters, he and his dramatic moustache and accent struggle to make this retelling of 1930s whodunit, appeal to the contemporary audience. To set an entire movie in just one frame train compartment and yet make it look engaging is another challenge. Branagh wins some, loses particularly liked how he captures his characters as they steal a glance at each other. You wish the story played around their unspoken emotions a little more before diving straight into the investigation. Character buildup seems hurried and thus of Poirot and his obsession for balance’, only if Branagh had maintained that as a director as well. Barring Michelle Pfeiffer and Branagh himself, most talented actors like Judi Dench and Penelope Cruz get lost in the despite the glitches and avalanches, thanks to a stellar cast and gripping source material, this mysterious train journey is worth taking. Does it have a twist in the end? You have to watch the movie to know that.
Reviewby Terry Staunton. The challenge in filming one of the world’s best-loved whodunnits is keeping viewers’ attention while telling a story they already know.
The word “sheer” is missing from the beginning of the title. Like a dusty and long-locked display room in Madame Tussauds, this movie showcases an all-star cast in period costume, each of whom must suppress his or her star quality in the cause of being part of an all-star cast. It is a new version of Agatha Christie’s 1934 detective mystery, one of her most ingenious, all about a grisly killing on board a train that is marooned in snow. The story arguably has something to say about the nature of guilt and the nature of authorship. Kenneth Branagh directs and plays the legendary Belgian sleuth Hercule Poirot with an unfeasibly large ’tache, accessorised with a demi-goatee beneath the lower lip and a pepper-and-salt colouring overall, like the hair of former ITV World of Sport presenter Dickie Davies. Poirot says things like “The keelaire eez meurking me!”The film’s old-fashioned luxury stylings pay homage to Sidney Lumet’s own A-lister-crammed version from 1974 – which had Albert Finney as a more dyspeptic and glowering Poirot – and the film seems to be testing the waters for a lucrative new Bond-style franchise, the next caper being Death on the Nile. This Murder on the Orient Express gives the story a slightly more modern perspective; some of the races are changed and the era’s attitudes challenged, although there is a smug gag about a cheery prostitute at the beginning that could come straight from the seedy-sophisticate 70s. Two characters oddly allude to an earnest argument they have supposedly had about “Stalinism” in which it is far from obvious who is for and who … Judi Dench, right, as a Russian princess and Olivia Colman as her maid. Photograph Allstar/20th Century FoxThis version also tries to open things out a little by creating some derring-do out there in the freezing snow, before people nip smartly back into the warm carriage. There’s some outrageous product placement for a certain brand of chocolate, prominently displayed, over which Poirot lingers to say “Ah leurve these leeteurl cecks!” However much they contributed to the production budget, it wasn’t enough.Poirot boards the renowned Orient Express in Istanbul, heading for Calais, and finds he is sharing it with a remarkable cross-section of American and European society – though, with only a dozen or so passengers, the real mystery is how the Orient Express stays solvent. There is the haughty and cantankerous White Russian Princess Dragomiroff Judi Dench and her submissive maid Hildegarde Schmidt Olivia Colman; demure governess Mary Debenham Daisy Ridley, who may have some connection with Dr Arbuthnot Leslie Odom Jr; sinister German academic Gerhard Hardman Willem Dafoe; a mousily religious Pilar Estravados Penélope Cruz; manhunting American widow Mrs Hubbard Michelle Pfeiffer; saturnine Russian dancer Count Andrenyi played by real-life ballet star Sergei Polunin and his troubled wife, Countess Andrenyi Lucy Boynton; and genial businessman Marquez Manuel Garcia-Rulfo. There is also a crooked American art dealer, Ratchett Johnny Depp, accompanied by his butler, Masterman Derek Jacobi, and private secretary, Hector MacQueen Josh Gad. One of these people is found murdered – subject to a frenzied a mouthwatering cast it looks. And yet, of all these characters, only one is given anything like the necessary space to live and breathe, and that is the malign, gravel-voiced Ratchett. He has an interestingly charged scene with Mrs Hubbard and a similarly fraught encounter with Poirot, in which he has the unthinkable bad taste to offer the great detective a … Johnny Depp as Ratchett, the crooked art dealer. Photograph Alamy Stock PhotoTellingly, these moments happen before the murder, the discovery of which is filmed in the most bafflingly indirect way. Branagh contrives a showy overhead shot of the tops of people’s heads as they break into the victim’s compartment and the shock factor of unveiling the bloody corpse is lost, with nothing much gained in terms of subtlety or indirect the murder is announced, the narrative clockwork is assumed to have been set in motion. And yet it is more like the victim’s pocket watch, which was smashed in the violence and ceased to work, thus giving Poirot a vital clue as to the time of death. Something about the story itself goes dead at that moment, reviving only with the big reveal at the end, for which Poirot assembles the suspects outside, all seated at some sort of last-supper trestle table. Carrying that thing around on the train must have been a pain, but at last it came in handy. This film never gets up a head of steam. This article was amended on 3 November to correct the title of Agatha Christie’s book Death on the Nile, which had been mistakenly referred to as Murder on the Nile
Thisentry was posted in Film and tagged Daisy Ridley, David Annen, Derek Jacobi, Elliot Levey, Johnny Depp, Joseph Long, Josh Gad, Judi Dench, Kathryn Wilder, Kenneth Branagh, Leslie Odem, Lucy Boynton, Manuel Garcia-Rulfo, Marwan Kenzari, Michael Rouse, Michelle Pfeiffer, Miranda Raison, Murder On The Orient Express (2017). Film Review
TRAILER 139 TRAILER 203 Play all videos What to know Stylish production and an all-star ensemble keep this Murder on the Orient Express from running off the rails, even if it never quite builds up to its classic predecessor's illustrious head of steam. Read critic reviews Rent/buy Rent/buy Buy Murder on the Orient Express videos Murder on the Orient Express B-Roll 1 BEHIND THE SCENES 649 Murder on the Orient Express B-Roll 2 BEHIND THE SCENES 523 Murder on the Orient Express Exclusive Josh Gad Interview 234 Murder on the Orient Express Trailer 2 TRAILER 139 Murder on the Orient Express Trailer 1 TRAILER 203 Murder on the Orient Express Photos Movie Info A lavish trip through Europe quickly unfolds into a race against time to solve a murder aboard a train. When an avalanche stops the Orient Express dead in its tracks, the world's greatest detective - Hercule Poirot - arrives to interrogate all passengers and search for clues before the killer can strike again. Rating PG-13 Violence and Thematic Elements Genre Mystery & thriller, Crime, Drama Original Language English Director Kenneth Branagh Producer Mark Gordon, Simon Kinberg, Kenneth Branagh, Judy Hofflund, Michael Schaefer, Ridley Scott Writer Michael Green Release Date Theaters Nov 10, 2017 wide Release Date Streaming Feb 27, 2018 Box Office Gross USA $ Runtime 1h 54m Distributor 20th Century Fox Production Co Scott Free Productions, The Mark Gordon Company, Kinberg Genre Sound Mix Dolby Atmos Aspect Ratio Scope Cast & Crew News & Interviews for Murder on the Orient Express Critic Reviews for Murder on the Orient Express Audience Reviews for Murder on the Orient Express Sep 03, 2020 Murder on the Orient Express had all the ingredients for a modern ensemble classic but it struggles in the end. The key issue is the lack of characteristics and most are left with one dimensional roles. You can't say Kenneth Branagh is out of his element as the film-maker has made large ensemble films like Hamlet. The issue I felt was the tone and pacing of the film. The characters don't grab you and the murder mystery is secondary to the larger story. I've found Branagh's films have struggled with the jump to larger studio films. There are obviously length restrictions and keeping this film at such a short running time was a disservice to the novel. This had a large cast and the potential to dig into the novel a little better than the previous film adaptation. Sidney Lumet's version is still my preferred but I enjoyed the chance to see the film again with modern actors. The premise was a little underdeveloped and the twists came and went. There was potential here but sadly it didn't click with me. 04/09/2020 Sep 18, 2018 The beginning of the film is perfect, an exotic location, a neat little introduction to the character, the sequences conjures up images of the great adventures of Lawrence of Arabia or even Indy Jones. Then we are getting on the train. The cast is amazing, of course, so is the narrow setting of the train and cinematography. Once Poirot starts investigating, things flow rather perfectly too. What's missing is a major shock or twist, at least if you're somewhat familiar with the story. They did a little action sequence here or there, but in the end the result is entertaining but a bit underwhelming. Super Reviewer Jun 13, 2018 Held onto the rails by visually stunning direction, effective performance from Branagh and cast, Murder on the Orient Express provides a solid pay-off even if its second act will have you thinking of the destination and not the journey. 3/5 Super Reviewer Mar 07, 2018 The 1974 adaptation of Christie's novel is flawed but at least it had Sydney Lumet as a director. Branagh can't juggle the massive ensemble or figure out how to effectively use the large budget at his disposal. Super Reviewer
Murderon the Orient Express Review By Rich Cline The latest adaptation of Agatha Christie's 83-year-old classic whodunit, this lavish, star-studded film is old-style entertainment.
A Lot or a Little? What you will—and won't—find in this movie. Where to Watch Videos and Photos Parents say 24 Kids say 51 age 12+ Based on 24 parent reviews April 20, 2023 Totally awesome mystery movie! Entertaining whodunnit doesn’t have too much violence nor bad language. This movie is based on the book by Agatha Christie and the first version of the movie in 1974. Although the movie isn’t very violent it does have some drinking alcohol and consuming drugs. There is some violence a man gets stabbed 12 times in the stomach and some violent dialogue but nothing too hairy. Families will enjoy this murder mystery sequel and will love the storyline. I think this movie is great for ages 10+ This title has Great messages Great role models Too much drinking/drugs/smoking 1 person found this helpful. May 30, 2022 Classic whodunit with a lot of style and panache Excellently shot, fantastic pacing and appropriate liberties were taken with the source material. Fabu job modernizing the portrayals in order to have a cast that reflects 2017 and contemporizing the mystery so more of the audience is invested. Branagh does a fabulous job...on pins and needles for Death on the Nile. What's the Story? In MURDER ON THE ORIENT EXPRESS, master detective Hercule Poirot Kenneth Branagh has just solved a case in Jerusalem and is looking forward to a vacation. Unfortunately, he's summoned to another case in London and must board the Orient Express. A boorish passenger, Ratchett Johnny Depp, whose business appears shady, tries to hire Poirot for protection. Next thing anyone knows, Ratchett has been murdered, and there's a whole train car full of suspects. Poirot interviews them one by one, including Ratchett's secretary Josh Gad, his valet Derek Jacobi, a society lady Michelle Pfeiffer, a princess Judi Dench, a professor Willem Dafoe, a governess Daisy Ridley, a doctor Leslie Odom Jr., and a missionary Penelope Cruz. But the more Poirot learns, the less the clues seem to add up; they even seem to contradict one another. He comes to realize that this case will lead him to question everything he knows. Is It Any Good? Branagh calls on his finest classical directing skills to make this smart, old-fashioned murder mystery into an enjoyable, great-looking entertainment, with an ensemble cast to die for. Based on the novel by Agatha Christie, Branagh's colorful, fluid Murder on the Orient Express is a worthy companion to the book's previous big-screen adaptation, Sidney Lumet's 1974 version. Best of all, Branagh directs himself in the role of the famous detective Poirot, and it's as natural a fit as his outings as Henry V and Hamlet were. Branagh finds a fascinating emotional center to the character, a certain kind of pain that drives him, rather than just being really smart. Plus he has an amazing mustache. The movie takes place in a single location, but Branagh's camera moves gracefully through the narrow corridors; he never constricts or tightens for suspense purposes. He goes outside, or above, or wide, to bring all the characters together on a human level. He also uses mirrors and windows to fascinating effect. This isn't a traditional murder mystery, in that it's not particularly suspenseful or thrilling. Rather, it's content and mature enough to explore the reasons behind it all, to find the soul of the thing. This is a movie aimed at viewers who have a little bit of patience and who don't mind a little bit of the way things used to be. Talk to Your Kids About ... Families can talk about Murder on the Orient Express's violence. How much is actually shown? What's the impact of the violence that's not shown? Is this thrilling or shocking? How does the movie depict drinking and drugs? Are they glamorized? Do any of the characters appear to be addicts? What indicates that? What does the movie have to say about racism and discrimination? Which characters appear to be intolerant of characters from other cultures? How are they treated by others? Like Poirot, do you believe that there are simple, black-and-white solutions for every problem? Why or why not? Why do you think author Agatha Christie and her character Hercule Poirot have such enduring appeal? Movie Details In theaters November 10, 2017 On DVD or streaming February 27, 2018 Cast Daisy Ridley, Johnny Depp, Judi Dench, Kenneth Branagh Director Kenneth Branagh Studio Twentieth Century Fox Film Corporation Genre Thriller Topics Book Characters Run time 114 minutes MPAA rating PG-13 MPAA explanation violence and thematic elements Last updated July 2, 2022 Did we miss something on diversity? Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update. Where to Watch Our Editors Recommend Thriller Movies Mystery TV Common Sense Media's unbiased ratings are created by expert reviewers and aren't influenced by the product's creators or by any of our funders, affiliates, or partners. See how we rate
YonZ7Iv. 863tjs64aj.pages.dev/272863tjs64aj.pages.dev/922863tjs64aj.pages.dev/186863tjs64aj.pages.dev/988863tjs64aj.pages.dev/10863tjs64aj.pages.dev/900863tjs64aj.pages.dev/18863tjs64aj.pages.dev/103
murder on the orient express 2017 movie review
