Full disclosure- I know absolutely nothing about Agatha Christie's Murder on the Orient Express. So if you're looking for a review that judges Kenneth Branagh's new film as an adaptation of the classic novel, this certainly won't be it. But this isn't the kind of thing where you have to be a "fan" to get into it- Murder on the Orient Express will likely be appreciated by audiences who have never even heard of Hercule Poirot. Despite Branagh at the helm and an epic all-star cast, I have to admit that I was never really all that excited for the film, mainly due to the genuinely bizarre marketing campaign run by Fox. They seemed to be targeting a younger demographic, and as such, the utterly atrocious trailer featured an Imagine Dragons song that felt completely out of place with the tone and subject matter. A period piece murder mystery set to a modern pop song? Sounds about right.
Thankfully, Branagh's film is nothing like its ghastly trailer. It's a sweeping adventure film through and through, filled with mysterious characters, exotic locales, and an enigmatic detective to lead the way. And ultimately, this is a solid time at the movies, a fun, morally thorny mystery that feels fresh enough to warrant a mild recommendation. Murder on the Orient Express has some truly spectacular moments housed inside a merely decent film, one with a few glaring flaws that essentially cancel out some of the more impressive sequences. Branagh is brilliant as Poirot, and his inspired direction gives the film an air of smooth confidence and an expressive style. If the central mystery was as engaging as some of the more lavish production elements, then this may have evolved into something exceptional. But in its current form, Murder on the Orient Express is simply fine- nothing less, nothing more.
Hercule Poirot (Branagh) is, in his own words, "probably the greatest detective in the world." He has an eye for detail that is simply unparalleled, and his ability to notice even the slightest alteration to a crime scene allows him to solve cases in no time. When the film opens, Poirot has prevented a civil war in Jerusalem, putting the clues together based on an imprint from the sole of a shoe. Poirot sees the world in black and white, and his perfectionism and meticulously controlled view of the world serve as both his greatest assets and most glaring flaws. Poirot intends to take a holiday after the events in Jerusalem, but he's called in for an important case. In order to help those who need his assistance, Poirot boards the Orient Express, the most beautiful train created by man.
On board, there's no shortage of powerful individuals and interesting characters. Perhaps the most prominent figure of all is Edward Ratchett (Johnny Depp), a gangster and forger who is also the most dangerous man on the train. Initially, he asks for Poirot's help in protecting him against his many enemies. But since the detective is a man of principle and Ratchett is not, Poirot refuses his generous offer. The next morning, Ratchett is dead. Of course, as the world's most famous detective, Poirot takes on the case. But the notoriously sharp detective finds his judgment clouded as he interrogates the many possible suspects who could have murdered Ratchett. Could it be McQueen (Josh Gad) or Masterman (Derek Jacobi), Ratchett's closest confidants and friends? Or is there something shady going on with Mary Debenham (Daisy Ridley) and Dr. Arbuthnot (Leslie Odom), who seem to be plotting something when Poirot arrives? Or could there be something much darker occurring aboard the cozy confines of the Orient Express?
Murder on the Orient Express gets off to a spectacular start, and I have to say that I'm really loving Hollywood's newfound embrace of the kind of classic blockbuster that they pretty much didn't make a long period of time. After years of focusing on revisionist ideas and dark themes, we're witnessing a slow but steady return to the thrilling romanticism that used to define big-budget entertainment. Just like Wonder Woman earlier this year, Murder on the Orient Express has a magical, sweeping spirit that recalls both the early days of the Harry Potter franchise and the grand epics of yesteryear, a fascinating cocktail that works marvelously. In the opening moments, this film almost seems to be establishing Branagh's Hercule Poirot as the leader of a new franchise, one where the detective solves difficult crimes and finds himself in situations that test his investigative mettle. The first act of this film feels like an early 20th century twist on the James Bond formula, and I was really digging it.
But then the complications of the actual mystery arise. This may be a controversial opinion for what is considered to be one of the greatest mystery tales of all time, but I don't think the central case of Murder on the Orient Express is all that fascinating. Well, at least not in the way that Branagh presents it. Here are the two problems- you feel no sympathy for the man who is killed, and there are simply two many characters for the viewer to really care who did it. Edward Ratchett is quickly established as a disturbingly vile and vicious individual, a scoundrel who did some terrible things in his life. Why should we give a damn who killed him? But it's even less compelling when the mystery is centered around a series of interviews with the possible killers, which doesn't allow for much dramatic momentum or intensity. Everything in the middle section of the film is edited in a bizarre way, compounding the issues that already suck the energy out of the proceedings.
Nonetheless, Branagh bounces back, crafting a finale that ties up the loose ends of the narrative in an engaging and involving manner. I like the way that Murder on the Orient Express ultimately becomes a story about a man who sees the world in black and white learning to see shades of gray, and I think it's executed in a way that is both dramatically fascinating and stunningly sad. The moral ambiguity of the film becomes its greatest asset, turning a fun little potboiler into a shocking tale of revenge and justice. It's a clever little sleight of hand, and Branagh pulls off the twist nicely, ending the film on a high note after a few prominent missteps along the way.
Murder on the Orient Express is too much of an ensemble picture for any of the supporting stars to really stand out, thus putting all of the attention on Branagh. He's tremendous as Poirot, successfully playing off the detective's intricate mixture of personality quirks and ethical principles, creating a unique blend of humorous charisma and meticulous stoicism. Branagh's work as a director also stands out, as he manages to craft some interesting angles, moving the camera in ways that feel energizing and thrilling. One of the more impressive shots of the film comes in the early goings, a tracking shot that follows Poirot as he walks past every possible suspect on the train. Speaking of the train, the locomotive itself is a thing of beauty, a complex beast that exists as both a stunning feat of craftsmanship and a limiting factor to the narrative. While the special effects aren't always up to par, Murder on the Orient Express is still a slick, gorgeous bit of old-fashioned fun.
It's hard to escape the feeling that Murder on the Orient Express could be better, but it's enjoyable enough as it is. Branagh is clearly having a blast as Poirot, and the rest of the cast seems to enjoy the opportunity to star in this new twist on the classic formula. It's a satisfying mix of surface-level pleasures and thought-provoking ideas, and I certainly wouldn't be opposed to more adventures with Branagh's careful and confident detective. The film is flawed in ways that prevent it from ever sniffing greatness, but the grandiose spirit of theatricality makes it worth a watch, and I think most audiences will find what they're looking for with this stylish mystery.
THE FINAL GRADE: B- (6.7/10)
Images courtesy of Fox
Thankfully, Branagh's film is nothing like its ghastly trailer. It's a sweeping adventure film through and through, filled with mysterious characters, exotic locales, and an enigmatic detective to lead the way. And ultimately, this is a solid time at the movies, a fun, morally thorny mystery that feels fresh enough to warrant a mild recommendation. Murder on the Orient Express has some truly spectacular moments housed inside a merely decent film, one with a few glaring flaws that essentially cancel out some of the more impressive sequences. Branagh is brilliant as Poirot, and his inspired direction gives the film an air of smooth confidence and an expressive style. If the central mystery was as engaging as some of the more lavish production elements, then this may have evolved into something exceptional. But in its current form, Murder on the Orient Express is simply fine- nothing less, nothing more.
Hercule Poirot (Branagh) is, in his own words, "probably the greatest detective in the world." He has an eye for detail that is simply unparalleled, and his ability to notice even the slightest alteration to a crime scene allows him to solve cases in no time. When the film opens, Poirot has prevented a civil war in Jerusalem, putting the clues together based on an imprint from the sole of a shoe. Poirot sees the world in black and white, and his perfectionism and meticulously controlled view of the world serve as both his greatest assets and most glaring flaws. Poirot intends to take a holiday after the events in Jerusalem, but he's called in for an important case. In order to help those who need his assistance, Poirot boards the Orient Express, the most beautiful train created by man.
On board, there's no shortage of powerful individuals and interesting characters. Perhaps the most prominent figure of all is Edward Ratchett (Johnny Depp), a gangster and forger who is also the most dangerous man on the train. Initially, he asks for Poirot's help in protecting him against his many enemies. But since the detective is a man of principle and Ratchett is not, Poirot refuses his generous offer. The next morning, Ratchett is dead. Of course, as the world's most famous detective, Poirot takes on the case. But the notoriously sharp detective finds his judgment clouded as he interrogates the many possible suspects who could have murdered Ratchett. Could it be McQueen (Josh Gad) or Masterman (Derek Jacobi), Ratchett's closest confidants and friends? Or is there something shady going on with Mary Debenham (Daisy Ridley) and Dr. Arbuthnot (Leslie Odom), who seem to be plotting something when Poirot arrives? Or could there be something much darker occurring aboard the cozy confines of the Orient Express?
Murder on the Orient Express gets off to a spectacular start, and I have to say that I'm really loving Hollywood's newfound embrace of the kind of classic blockbuster that they pretty much didn't make a long period of time. After years of focusing on revisionist ideas and dark themes, we're witnessing a slow but steady return to the thrilling romanticism that used to define big-budget entertainment. Just like Wonder Woman earlier this year, Murder on the Orient Express has a magical, sweeping spirit that recalls both the early days of the Harry Potter franchise and the grand epics of yesteryear, a fascinating cocktail that works marvelously. In the opening moments, this film almost seems to be establishing Branagh's Hercule Poirot as the leader of a new franchise, one where the detective solves difficult crimes and finds himself in situations that test his investigative mettle. The first act of this film feels like an early 20th century twist on the James Bond formula, and I was really digging it.
But then the complications of the actual mystery arise. This may be a controversial opinion for what is considered to be one of the greatest mystery tales of all time, but I don't think the central case of Murder on the Orient Express is all that fascinating. Well, at least not in the way that Branagh presents it. Here are the two problems- you feel no sympathy for the man who is killed, and there are simply two many characters for the viewer to really care who did it. Edward Ratchett is quickly established as a disturbingly vile and vicious individual, a scoundrel who did some terrible things in his life. Why should we give a damn who killed him? But it's even less compelling when the mystery is centered around a series of interviews with the possible killers, which doesn't allow for much dramatic momentum or intensity. Everything in the middle section of the film is edited in a bizarre way, compounding the issues that already suck the energy out of the proceedings.
Nonetheless, Branagh bounces back, crafting a finale that ties up the loose ends of the narrative in an engaging and involving manner. I like the way that Murder on the Orient Express ultimately becomes a story about a man who sees the world in black and white learning to see shades of gray, and I think it's executed in a way that is both dramatically fascinating and stunningly sad. The moral ambiguity of the film becomes its greatest asset, turning a fun little potboiler into a shocking tale of revenge and justice. It's a clever little sleight of hand, and Branagh pulls off the twist nicely, ending the film on a high note after a few prominent missteps along the way.
Murder on the Orient Express is too much of an ensemble picture for any of the supporting stars to really stand out, thus putting all of the attention on Branagh. He's tremendous as Poirot, successfully playing off the detective's intricate mixture of personality quirks and ethical principles, creating a unique blend of humorous charisma and meticulous stoicism. Branagh's work as a director also stands out, as he manages to craft some interesting angles, moving the camera in ways that feel energizing and thrilling. One of the more impressive shots of the film comes in the early goings, a tracking shot that follows Poirot as he walks past every possible suspect on the train. Speaking of the train, the locomotive itself is a thing of beauty, a complex beast that exists as both a stunning feat of craftsmanship and a limiting factor to the narrative. While the special effects aren't always up to par, Murder on the Orient Express is still a slick, gorgeous bit of old-fashioned fun.
It's hard to escape the feeling that Murder on the Orient Express could be better, but it's enjoyable enough as it is. Branagh is clearly having a blast as Poirot, and the rest of the cast seems to enjoy the opportunity to star in this new twist on the classic formula. It's a satisfying mix of surface-level pleasures and thought-provoking ideas, and I certainly wouldn't be opposed to more adventures with Branagh's careful and confident detective. The film is flawed in ways that prevent it from ever sniffing greatness, but the grandiose spirit of theatricality makes it worth a watch, and I think most audiences will find what they're looking for with this stylish mystery.
THE FINAL GRADE: B- (6.7/10)
Images courtesy of Fox
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