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
Itis 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. Critical Movie Critic Rating: 4
This review contains spoilers, click expand to view. Admittedly I enjoyed this movie a little less than expected. It looks beautiful, has an A-list cast and of course is adapted from a book by legendary crime writer Agatha Christie. I took a Christie expert to the theatre with me, who has over the years read everything that bears her name. When Kenneth Branagh appeared on screen for the first time, she turned to me and said "No, Nooo, Noooooo". So if you're a hardcore Hercule Poirot fan, then you may find this hard to watch as Brannagh does not embody that character as faithfully as he is written. If you don't care about that whatsoever then, good news, you'll probably enjoy this incarnation a lot more. There are a lot of very well known actors in this that share screen time with each other and don't take up a lot of individual attention. Daisy Ridley and Michelle Pfeiffer do seem to get more time. Pfeifer is electric; I wish she'd do more movies. Of course, there were no weak performances as you would expect from a group of this calibre. Johnny Depp as much as I love him does ham it up terribly, this seems to be an ongoing feature of all his work these days, but his character is the pace does seem stilted, and it drags on a little too long for me. Being shot entirely in a studio, all of the environments outside the train were CG, even though they proved stunning. A couple of the backdrops, although pretty, did not look photoreal which you'd expect from a feature like this. The ending set the franchise up for a sequel, Death on the Nile, another Christie book so if you enjoyed this one then there's another to look forward to. It's a decent movie, and the all-star cast provides a novelty that you won't get in any films these days. Worth a look.… Expand
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Murderon the Orient Express is a 2017 mystery drama film. directed by Kenneth Branagh.Screenplay by Michael Green. Based on the 1934 novel of the same name
A movie about how much of a royal pain in the ass it was to kill someone before civilians had easy access to AR-15s, Kenneth Branagh’s “Murder on the Orient Express” is an undercooked Christmas ham of a movie, the kind of flamboyant holiday feast that Hollywood doesn’t really serve anymore. Arrestingly sumptuous from the very first shot and filmed in glorious 65mm, this cozy new riff on Agatha Christie’s classic mystery is such an old-fashioned yarn that it could have been made back in 1934 if not for all the terrible CGI snow and a late-career, post-disgrace Johnny Depp performance that reeks of 21st century fatigue. Indeed, it’s hard to overstate just how refreshing it feels to see a snug, gilded piece of studio entertainment that doesn’t involve any spandex. Or, more accurately, how refreshing it would have felt had Branagh understood why Christie’s story has stood the test of time. You know the plot, even if you’ve forgotten the twist. The world is between wars, winter is settling in, and famous Belgian detective Hercule Poirot Branagh is being summoned back to Britain for his next case. The fastest way there The Orient Express, one of those first class sleeper that America dumped in favor of Amtrak. A gilded mahogany serpent so refined that passengers are inspired to wear tuxedos to the dining car and directors are inspired to weave through the cabins in elegant tracking shots that bring us right on board, the Orient Express is an exclusive experience for a certain class of people. The paying customers on this particular trip naturally resemble a game of “Clue.” There’s a thirsty heiress Michelle Pfeiffer, a missionary Penélope Cruz, a plainclothes Nazi Willem Dafoe, a smattering of royalty that ranges in age from Judi Dench to “Sing Street” breakout Lucy Boynton, a governess Daisy Ridley, holding her own without a lightsaber in her hands, and the man she loves in secret “Hamilton” MVP Leslie Odom Jr., a movie star in the making. There’s also Depp’s crooked art dealer — the eventual corpse — and Josh Gad as his right-hand man; the cast is so deep that Derek Jacobi barely rates a mention. But one star forces the others into his orbit, and that is Branagh himself. Poirot has always been the engine for Christie’s mysteries, and not their fuel, but Branagh’s version doesn’t see things that way. In this script, penned by “Blade Runner 2049” screenwriter Michael Green, Poirot is always the top priority. From the stilted prologue in which the great detective is introduced with an undue degree of suspense, to the nauseating farewell that inevitably teases a Hercule Poirot Cinematic Universe, Branagh’s take on the character is lodged somewhere between a Shakespearian fool and a superhero. Filtered through a Pepé Le Pew accent that stinks from start to finish, he’s a walking spotlight in a film that feels like a Broadway revival, a live-action cartoon who’s more mustache than man. Branagh chews a dangerous amount of scenery for such a confined set, but the real problem is what the film has to do in order to justify his exaggerated presence It has to give Poirot an arc. Once the train derails on a rickety wooden bridge and Depp winds up dead in his cabin, the story should shift into mystery mode, with Poirot instigating our own imaginations. Here, however, Branagh blocks us out. What Christie learned from the likes of Arthur Conan Doyle is that geniuses are only believable if they’re actually geniuses — detective stories don’t work if they hinge on their protagonists sleuthing out something that a child could see for themselves. That’s true of the mysteries, and it’s true of their solutions. Poirot is supposed to be a genius, but here he’s an idiot savant. “There is right and there is wrong,” he declares early on, “and there is nothing in between.” “Murder on the Orient Express” You’d think, after solving however many cases, that he might have figured that out by now. But no, Poirot is obsessed with balance and restoring order to the world. The eggs he eats for breakfast have to be the same size. After accidentally stepping in horse poop with one shoe, he deliberately steps into it with the other. In a movie shot from so many dutch angles that the screen starts to seem tilted, Poirot is the only person who doesn’t recognize that the world isn’t flat, and that morality can never be perfectly measured. It’s agonizing to watch the brilliant detective work out such a simple concept, Branagh’s film growing long in the tooth even though it’s selling itself short. “Murder on the Orient Express” is a creaky whodunnit in this day and age, and there’s not much that Branagh can or chooses to do about that without disrespecting the source material. His well-meaning but half-assed reach for relevance involves a certain degree of wokeness, this version highlighting the pluralism of Christie’s original in its backhanded celebration of American diversity, its conclusion that any true melting pot is sustained by fostering a mutual desire for justice. Race comes to the fore, with Odom inhabiting a role that was once played by Sean Connery. Interesting things percolate under the surface, as all of the passengers are traveling with a lot of baggage. But the movie only cares about the suspects for as long as they’re sharing the screen with Poirot. Even Pfeiffer’s big moment is relegated to the end credits, where she can be heard singing a love ballad called “Never Forget.” Like everything else here, it’s hard to remember. A handsomely furnished holiday movie that should have devoted more attention to its many ornaments and less to the tinsel at the top, this “Murder on the Orient Express” loses steam as soon as it leaves the station. Grade C “Murder on the Orient Express” opens in theaters on Friday, November 10. Sign Up Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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
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.
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murder on the orient express 2017 movie review
