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| Courtesy of 20th Century Fox |
Fans of Christie’s books weren’t going to like the current world intruding on early 20th century characters. Modern audiences would likely wonder what was up with these old-timey people. It seemed like this film was a no-win situation for everyone involved.
Now that I’ve seen Orient Express, however, I have a whole new concern: I’m afraid this entertaining, surprisingly funny movie is going to be ignored because of terrible marketing. I’m happy to report that it’s a much more traditional interpretation of the story than I expected. Best of all, there’s not an anachronistic pop song to be found.
For those unfamiliar with the source material, the plot is simple, even though the answer to the central mystery is almost laughably complicated. The film centers on Hercule Poirot (Branagh), a Belgian detective whose legendary brilliance takes him around the world solving crimes. After finishing a particularly difficult case, he is looking forward to a few days of rest as he travels home on the opulent Orient Express.
Unfortunately for him, his fellow passengers (a jaw-dropping lineup including Daisy Ridley, Leslie Odom Jr., Penelope Cruz, Josh Gad, Derek Jacobi, Willem Dafoe, Judi Dench, Michelle Pfeiffer and Johnny Depp) have other plans. When one of them is murdered, it quickly becomes clear that the culprit is still on board. Everyone harbors a dark secret and a motive, which means they’re all suspects. It’s up to Poirot to figure out why the victim was killed and who committed the crime.
In a movie full of interesting directorial choices, perhaps the most audacious is Branagh’s decision to turn a purposefully claustrophobic story – one that takes place almost entirely in a couple of train cars – into a sweeping cinematic experience by shooting in 65mm. It’s a format once utilized for classics like Ben-Hur, West Side Story and 2001: A Space Odyssey, but rarely employed these days. The choice instills the somewhat intimate story with epic grandeur.
Other strengths include Jim Clay’s production design and Haris Zambarloukos’ cinematography – both gorgeous, Michael Green’s surprisingly funny screenplay and a fantastic cast. Branagh’s interpretation of Poirot is an intriguing one, playing up the character’s fussiness and dry sense of humor, while also occasionally exhibiting melancholy that hints at a tragic past.
Ridley, Pfeiffer, and Dafoe are strong as well, although I would’ve like to see more of them. Heck, even Depp seems to be trying for the first time in ages. But the biggest scene stealer is Tom Bateman, who plays Poirot’s morally bankrupt colleague Bouc.
The second half of Orient Express lays on the exposition a bit too thick, but that’s also an issue in the source material. It’s tough to learn about characters’ backstories while they’re stuck on a train unless you have lots of scenes where people just stand around and talk. Fortunately, Branagh does his best to liven up these sequences with interesting camera movements and unusual framing – like the bird’s-eye view of Poirot examining the crime scene.
Overall, this new version of Christie’s tale vastly exceeded my expectations. It’s one of the fall’s biggest surprises and I hope audiences give it a shot. I’d gladly welcome a new Poirot franchise with Branagh at the helm.
Murder on the Orient Express is rated PG-13 for violence and thematic elements.
Grade: B+
For those unfamiliar with the source material, the plot is simple, even though the answer to the central mystery is almost laughably complicated. The film centers on Hercule Poirot (Branagh), a Belgian detective whose legendary brilliance takes him around the world solving crimes. After finishing a particularly difficult case, he is looking forward to a few days of rest as he travels home on the opulent Orient Express.
Unfortunately for him, his fellow passengers (a jaw-dropping lineup including Daisy Ridley, Leslie Odom Jr., Penelope Cruz, Josh Gad, Derek Jacobi, Willem Dafoe, Judi Dench, Michelle Pfeiffer and Johnny Depp) have other plans. When one of them is murdered, it quickly becomes clear that the culprit is still on board. Everyone harbors a dark secret and a motive, which means they’re all suspects. It’s up to Poirot to figure out why the victim was killed and who committed the crime.
In a movie full of interesting directorial choices, perhaps the most audacious is Branagh’s decision to turn a purposefully claustrophobic story – one that takes place almost entirely in a couple of train cars – into a sweeping cinematic experience by shooting in 65mm. It’s a format once utilized for classics like Ben-Hur, West Side Story and 2001: A Space Odyssey, but rarely employed these days. The choice instills the somewhat intimate story with epic grandeur.
Other strengths include Jim Clay’s production design and Haris Zambarloukos’ cinematography – both gorgeous, Michael Green’s surprisingly funny screenplay and a fantastic cast. Branagh’s interpretation of Poirot is an intriguing one, playing up the character’s fussiness and dry sense of humor, while also occasionally exhibiting melancholy that hints at a tragic past.
Ridley, Pfeiffer, and Dafoe are strong as well, although I would’ve like to see more of them. Heck, even Depp seems to be trying for the first time in ages. But the biggest scene stealer is Tom Bateman, who plays Poirot’s morally bankrupt colleague Bouc.
The second half of Orient Express lays on the exposition a bit too thick, but that’s also an issue in the source material. It’s tough to learn about characters’ backstories while they’re stuck on a train unless you have lots of scenes where people just stand around and talk. Fortunately, Branagh does his best to liven up these sequences with interesting camera movements and unusual framing – like the bird’s-eye view of Poirot examining the crime scene.
Overall, this new version of Christie’s tale vastly exceeded my expectations. It’s one of the fall’s biggest surprises and I hope audiences give it a shot. I’d gladly welcome a new Poirot franchise with Branagh at the helm.
Murder on the Orient Express is rated PG-13 for violence and thematic elements.
Grade: B+
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