'Murder on the Orient Express' (2017) Review

[This review was originally written in November 2017 and is now being published that my internship is over. For an explanation of this, visit my Fall 2017 Important Update post.] 

Murder on the Orient Express chugs along with world-renowned detective Hercule Poirot as he travels on the extravagant Orient Express enroute to London so he can solve yet another case. However, his recess is interrupted when the lavish locomotive becomes the scene of a murder, and responsibility falls upon Poirot to catch the culprit responsible for committing the crime among a dozen of the train's dubious passengers.

Murder on the Orient Express adapts a novel written by Agatha Christie and this 2017 rendition is directed by Kenneth Branagh, who also happens to star as the brilliant Belgian detective. Branagh's version joins one pre-existing film adaptation, three television series (including one Japanese incarnation), and the novel itself of course. Considering I haven't seen or read any of these, I can't quite speak to how faithfully Branagh adapted the novel or how it compares to the other editions. I can however say though that Branagh imbues Murder on the Orient Express with the stylistic sensibilities of an old-fashioned murder mystery, which really works in the film's favor.

Branagh and his crew create a convincing 1930s environment to coup up the characters (full marks to the production and costume designers, as well as the hair and makeup team) while cinematographer Haris Zambarloukos cunningly captures captivating imagery within the confined compartments of the Orient Express. Patrick Doyle's score also fuels the coal fire with a liveliness that mimics the movement of a train as it rarely stops chugging along. Murder on the Orient Express rides a set of comfortable tracks in regards to aesthetic, but the script accounts for a bumpier ride.

Again, I can't attest to the accuracy of this adaptation and so I'm unsure if any of my complaints are better directed towards Christie or the film's screenwriter, Michael Green. Regardless of where the problem lies, theres still an issue. Murder on the Orient Express is a whodunnit murder mystery, and when solving a mystery it's best to key the audience in on various clues by showing rather than telling. Branagh goes with the latter though, essentially spilling all the details in expositional dialogue. The mystery and the characters involved aren't nearly as fascinating as they should be considering the viewer's knowledge is relatively restricted to what Poirot explains to them, which really is a shame considering the quality of the cast assembled for the project. Murder on the Orient Express also isn't in any hurry to meet its destination, so naturally the pacing can veer towards being slightly sluggish on occasion. 

Murder on the Orient Express amasses an exceptional ensemble, and while certain actors are able to stick out from the crowd a tad, Kenneth Branagh's the only one who truly shines... or was it just his character's marvelous moustache? Anyways, Johnny Depp, Daisy Ridley, Josh Gad, Willem DaFoe, Michelle Pfeiffer, Leslie Odom Jr., and Tom Bateman are actually quite good when afforded the opportunity to do or say something, but the ensemble as a whole is woefully underutilized and are made out to be mostly stock background caricatures rather than fully, fleshed individuals. 

I'd love to confidently shout "All aboard the Orient Express," but the journey's a little trepidatious if I'm being honest. Branagh steals the show from both behind and in-front of the camera, providing the embers necessary to keep the flick moving, but the film almost veers offtrack due to the script's underwhelming roles for his extraordinary ensemble.

Film Assessment: C+