Film Review: Murder on the Orient Express
“My Name Is Hercule Poirot And I am Probably The Greatest Detective In The World…”
Helmed by the steady of hand of theatre and screen aficionado, Kenneth Branagh, the latest adaptation of Agatha Christie’s Murder on the Orient Express comes eighty three years after the source material was first published and forty three years after the first cinematic venture of such a story, one directed by Sidney Lumet and featured an extensively impressive cast which included the likes of Lauren Bacall, Ingrid Bergman and the post-Bond presence of Sean Connery. Returning to the big screen once again with a similarly majestic group of actors, Branagh’s take on arguably Christie’s most iconic story is one which cranks up the absurdity in a manner which takes on board Darren Aronofsky’s adaptation of Noah, whilst being a film which too enjoys basking in the nostalgia factor of its’ early twentieth century setting, and whilst there is undeniable charm and enjoyment at the heart of Branagh’s project, the real lack of freshness and a wavering narrative hook results in the latest Murder on the Orient Express being just good enough to warrant another punt at the famous source material.
Whilst it seems everyone and their dog is aware of the story at the heart of Christie’s novel, Branagh’s movie utilises Blade Runner 2049 and Logan screenwriter Michael Green’s script to introduce a few minor character differences and narrative swings, of which some directly link back to the Sidney Lumet version of the story and some which are wholly original, with my personal favourite being a karate loving Count Andrenyi who is introduced with a simply baffling scene of him roundhousing a fellow passenger before boarding the titular medium of travel. With the added use of CGI to enhance the titular locomotive’s unplanned halt on the snow-filled tracks and some effectively crafted flashback scenes which both improve on the Lumet version and make things simple for even the most wavering audience mind, Branagh’s first attempt at a big-screen Christie tale passes the time rather harmfully, with the director’s portrayal of Belgium’s most famous export being a charming and suave interpretation, and with an concluding act which sets out a possible future franchise, Murder on the Orient Express is best served with a bourbon biscuit and a nice cup of Earl Grey. Put the kettle on love.
Overall Score: 6/10
Posted on 05/11/2017, in Uncategorized and tagged Adaptation, Agatha Christie, crime, Daisy Ridley, drama, Film 2017, Film Review, Johnny Depp, Judi Dench, kenneth branagh, Michael Green, Michelle Pfeiffer, Murder on the Orient Express, Penélope Cruz, Willem Dafoe. Bookmark the permalink. Leave a comment.