Murder on the Orient Express

The attempt to combine the most classical of classic detective stories with modern filmmaking techniques is commendable, but not quite effective. I appreciate Branagh's clear vision, his courage to come up with his own ideas, and his absolute commitment to the story and the main character, but the result lacks a single memorable passage, and, especially in the second half, it hits a monotonous, old-fashioned note that doesn't fit well with his intentions to make an energetic version of the case of the level-headed intellectual. It's very pretty to look at and the stellar cast is a delight, but it's still more predictable and less cool than would be ideal. (30/04/2018)

"Murder on the Orient Express" is one of Agatha Christie's most celebrated Poirot stories and was first published in 1934. The Lindbergh baby case is also infamous, and its reach can be illustrated, for example, by the fact that in its time it also caused fear in Marlene Dietrich, who hired two bodyguards for her daughter. The trauma caused by the scandal was almost palpable throughout the 1930s... There have been a number of adaptations, whether in film, television, radio, theater, comics, or video games. So is it a good choice to start a new series? Isn't it a shame to start telling new Poirot cases in this notorious way? So far, Kenneth Branagh seems to have been lucky. Soon he will be back again and will surely solve another famous case - Death on the Nile. So what was the recipe used? Branagh was not afraid to make a classic all-star film for today's audience, where it is important that even the smallest roles are played by respected actors. It is all sufficiently idealized, deliberately playing with reverence and yet suspenseful and, where desired, funny. It is therefore an endeavor that can be enjoyed without hesitation. As an added bonus, we get a new song sung by Michelle Pfeiffer - "Never Forget." (22/05/2018)

Kenneth Branagh may have taken on a bit too much after all. His take on Poirot tries to be unnecessarily too modern in places, which I don't think works in his action sequences. I didn't even like the execution of the final reveal, but the film had quite a bit of drive and Agatha wrote the story so well that you simply can't go wrong with it. (12/11/2017)

Overwrought and overly lavish crime drama in the hands of a first-class connoisseur, aesthete, pedant and lover of classic literary subjects all in one. That it doesn’t work very well as a whole? That is true and that is what it looks like. Not that Branagh isn't good in front of the camera, on the contrary, he is the best of the lot, but he is also the only watchable thing, unless you count the impressive camera sequences of Istanbul and the mountain heights, but you can put on Discovery Channel for that, and you will spare yourself the disappointment of unfulfilled expectations of a quality and solid detective story. (15/02/2018)

I love the old version with Albert Finney, but the new one by Kenneth Branagh certainly doesn't disgrace it. However, the director and the main actor in one person decided – quite logically and, I think, rightly – not to try to make any fundamental statement against it or the source material. So although the trailers try to suggest that we're going to see some brisker pacing and maybe even some action, it's still the right kind of Poirot dialogue. And just like the film's classics, it stands on its excellent cast, great performances, dialogue and of course how perfectly thought out the whole thing is. Branagh treats the book with reverence, but at the same time doesn't shy away from a more modern and clever use of cinematography and excellent music work. And the result is the most honest whodunit I could have imagined given the source material. It goes exactly as it should. (27/07/2018)