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.

Legendarydetective Hercule Poirot is resurrected once again for the big screen in the latest adaptation of Agatha Christie’s 1934 classic, “Murder on the Orient Express,” a pleasantly diverting mystery drama featuring an impressive cast that includes Kenneth Branagh, Johnny Depp, Josh Gad, Willem Dafoe, Penelope Cruz and Michelle Pfeiffer. In addition to starring as 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.

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OverallMurder on the Orient Express is a worthwhile bit of fun. Fans of the book might will find it to be a slick, dutiful retelling of a classic, while newcomers will certainly be entertained, 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

HerculePoirot, the Belgian detective with the 'little grey cells' is back on the Big Screen! This time in the form of actor / director Kenneth Branagh, the 2017 film adaptation of Murder on the Orient Express is a sold enough version of the Agatha Christie whodunnit. Originally written in 1934, Christie's novel takes to

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Murderon the Orient Express by Agatha Christie is considered classic literature, but literature it should stay. From the minute the movie starts the pace is slow and uneventful. About halfway through, the movie increased to insane speed, to the point of barely understanding what is happening. There is a point midway through the movie

Consultingdetective Hercule Poirot, mourning his wife’s death, decides to take a vacation. A friend offers him the chance to head to travel from Istanbul to Europe on the luxury Orient Express train. Poirot notices the odd behavior of a dozen fellow passengers. They include an actress suffering the pains of fading glory, a doctor with an

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Title Murder on the Orient Express (2017) Director: Kenneth Branagh 👨🏼🇬🇧 Writers: Original novel by Agatha Christie 👩🏼🇬🇧 and screenplay by Michael Green 👨🏼🇺🇸 Reviewed by Li 👩🏻🇺🇸. Technical: 2.75/5 Murder on the Orient Express is a difficult novel to translate for the silver screen.A first attempt by director Sidney Lumet in 1974 turned a

Murderon the Orient Express, 2017. Directed by Kenneth Branagh. Starring Kenneth Branagh, Johnny Depp, Penélope Cruz, Willem Dafoe, Judi Dench, Josh Gad, Leslie

Imostly went to Murder on the Orient Express on the basis of the trailer, which showed a big cast of luvvie actors who seemed to be having an infectiously fun time together. Some of the names in the credits: Michelle Pfeiffer, Derek Jacobi, Judi Dench, Willem Dafoe, Daisy Ridley and Penélope Cruz.

^{Decem Review | 'Murder on the Orient Express' is the detective movie millenials deserve With a satisfying resolution, Murder on the Orient Express is a triumphant old-school film that shows that black-and-white}

Myreview of Murder On The Orient Express 2017.Please sub to my other channel: free to

ByMeredith Borders Nov. 09, 2017. Hercule Poirot – the fastidious detective from Belgium, the little man with a “very stiff and military” mustache and head “exactly the shape of

Answer(1 of 8): I did. And it is rare that I make it through a whole film. I may have gotten a bit of grit in my eye towards the end. It looked beautiful - and I tend to be oblivious to such things. I adored the through-the-louvred-glass shots of the conversations between the occupants of th

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