Murderon the Orient Express (2017) is rated PG-13 by the MPAA for violence and thematic elements. Violence: Characters engage in self-defense fighting, physical altercations and brawls. Guns are used to threaten others. Characters are shot at, and one is wounded (some blood is shown). A robbery is discussed. Murderon the Orient Express is a 2017 mystery thriller film directed by Kenneth Branagh with a screenplay by Michael Green, based on Aswith the 1974 version, this movie also has a heavyweight cast which includes Penelope Cruz, Daisy Ridley, Judi Dench, Leslie Odom Jr., Michelle Pfeiffer, William Dafoe, Derek Jacobi, Olivia Colman, Tom Bateman, and Johnny Depp. In 1934 Poirot (Branagh) is in British run Jerusalem solving a strange theft from the Church of the Holy Sepulchre and hopefully Ifall of this interest means you missed out on getting a seat to watch your ideal screening, here are alternative ways you can catch Murder on the Orient Express. Watch Here: Murder on the Orient Express (2017) Full Movie Online Free Murder on the Orient Express Release Date Click here to watch Murder on the Orient Express streaming online Murderon the Orient Express, directed by Kenneth Branagh, opens in theaters November 10, 2017. It runs 114 minutes and stars Kenneth Branagh, Penelope Cruz, Johnny Depp, Willem Dafoe, Judi Dench Therecent debut of the fourth rendition of the classic Agatha Christie novel “Murder on the Orient Express” wobbles off the tracks after a classic “whodunit” turns 1jna. 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 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. 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. 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. Choo-choo choose this whole idea of remaking a murder mystery, especially one of the most popular murder mysteries ever made, is inherently fraught with peril. After all, a lot of people in the audience already know “whodunnit”, either because they’ve read it, seen it, or heard about it through good old-fashioned cultural it was exceptionally smart to get Kenneth Branagh to remake Murder on the Orient Express. The director of Henry V, Much Ado About Nothing and Hamlet has built his whole reputation on re-staging classic tales that had already been re-staged thousands of times. He knows that the trick to making another Murder on the Orient Express isn’t to keep us guessing. Agatha Christie’s impeccable story does all of that heavy lifting for him. The trick is to film the hell out of an ensemble cast of incredible actors, each of them putting their own spin on a timeless classic, and to have a grand old time doing on the Orient Express stars Kenneth Branagh as Hercule Poirot, an obsessive-compulsive detective who is desperate for a vacation. But his trip on the Orient Express, en route from Istanbul, comes to a sudden halt when an avalanche stops the train in its tracks. And wouldn’t you know it, there’s now a dead body on board. Someone has been stabbed a dozen times and every one of the passengers in that train car - except for Poirot, of course - is now a out his cast There’s a governess with a secret, played by Daisy Ridley, and a doctor with his own secrets, played by Leslie Odom Jr. There’s a shady American businessman, played by Johnny Depp. There’s a racist Austrian professor, played by Willem Dafoe. There’s a stuffy princess played by Judi Dench, and her put-upon servant, played by Olivia Colman. There’s the victim’s alcoholic assistant, played by Josh Gad, and his long-suffering valet, played by Derek Jacobi. There’s a deeply religious woman with a past, played by Penélope Cruz, and a flirtatious socialite, played by Michelle Pfeiffer. It goes on like cast is dazzling and Kenneth Branagh gives each of them their moment to shine, as they are interrogated one-by-one. The luscious cinematography by Haris Zambarloukos makes even the most confined spaces seem full of portent and possibility, and the deft adaptation by Michael Green keeps the film sprinting swiftly from one memorable sequence to another. Murder on the Orient Express speeds along just like, well, the Orient Express, giving us plenty of time to take in the sites while moving steadily and suspensefully towards its final, shocking on the Orient Express Cast of CharactersBut although he’s got one hell of an ensemble, Branagh as usual saves the juiciest part for himself. His rendition of Poirot is heroic and hilarious, driven by compulsion but impishly amused by his own cleverness. As the mystery plows forward, and the clues make less and less sense, his uncertainty tears him apart. You can always see Poirot’s gears turning, and it’s delightful when the engine works and tragic when it Branagh is phenomenal in front of and behind the camera because he seems to love playing with these toys, from the enchanting prologue that gives weight to Poirot’s legend, to the ambitious long takes that remind you of just how dazzling this ensemble is. He loves his cast so much that when he assembles them into the same shot together, he stages them like Da Vinci’s Last Supper. And the action gets just as much attention as the dialogue, so that the smallest moments are just as captivating at the big ones, and that’s really, truly on the Orient Express may not be a particularly “necessary” adaptation. If you’ve seen Sidney Lumet’s Oscar-winning film from 1974, you’ve already seen a pitch perfect rendition of Agatha Christie at her best. But Branagh’s interpretation is just as delightful in some ways, and almost as delightful in all the others. It’s a classy, riveting remake, and it will make you want to see even more adventures featuring this particular This ArticleMurder on the Orient Express ReviewamazingChoo-choo choose this engrossing new adaptation of Murder on the Orient Bibbiani

murder on the orient express 2017 movie review