. United States. Malta Language English Budget $55 million Box office $351.8 million Murder on the Orient Express is a 2017 directed by with a screenplay by, based on the 1934. The film stars Branagh as, with, and in supporting roles. The film is the fourth screen adaptation of Christie's novel, following the, version, and a 2010 episode of the television series. The plot follows Poirot, a world-renowned detective, as he seeks to solve a murder on the in the 1930s.
Began in November 2016 in the United Kingdom; it is one of the few productions in recent decades to have used cameras. Murder on the Orient Express had its world premiere on November 2, 2017 at in London, and was released in theatres in the United Kingdom on November 3, 2017, and in the United States on November 10, 2017,. The film grossed over $351 million worldwide and received mixed reviews from critics, with praise for the cast's performances and the production value, but some criticism for not adding anything new to previous adaptations. A sequel, titled Death on the Nile, is scheduled for a release on December 20, 2019.
Contents. Plot In 1934, famous Belgian detective solves a theft at the in Jerusalem.
The —who seeks balance in life, and considers his case-solving ability to see a lie amid truth to be a curse — wants to rest in, but must return to London for another case. His friend Bouc, director of the Simplon, arranges a bunk for him aboard the train. Unscrupulous businessman Edward Ratchett offers to hire Poirot as his bodyguard during the three-day journey, having received threatening letters from an unknown party, but Poirot refuses. That night, Poirot hears strange noises coming from Ratchett's compartment, and later sees someone in a red running down the hallway. An avalanche derails the train's engine, stranding the passengers. The next morning, Poirot discovers Ratchett was murdered during the night after having been stabbed a dozen times.
Poirot and Bouc investigate the other passengers as repairs begin. Evidence indicates that Ratchett was murdered by one person, and Caroline Hubbard, a fellow passenger, claims that a man had been in her compartment in the night. Poirot discovers a partially burned note connecting Ratchett to the kidnapping of Daisy Armstrong, a child who was abducted from her bedroom and held for ransom. Though the family paid the ransom, Daisy was murdered nonetheless. Ratchett's true identity is revealed: he was John Cassetti, Daisy's kidnapper and murderer. The shock of her death caused her mother Sonia to die after giving premature birth to a stillborn baby; her father, Colonel John Armstrong, then committed suicide.
The family's nursemaid Susanne was wrongly suspected of complicity, leading to her being arrested and subsequent suicide in police custody, only to be found innocent afterward. More evidence is found, including a bloodstained handkerchief, and, in Mrs. Hubbard's compartment, the button of a conductor's uniform. The uniform is later found, as is the red kimono — in Poirot's own suitcase. Hubbard is suddenly stabbed in the back; she survives but cannot identify the culprit. Poirot discovers many of the passengers have direct connections to the Armstrong family and uncovers their hidden pasts. While interviewing governess Mary Debenham, Poirot is shot in the shoulder by Doctor John Arbuthnot, who claims responsibility for the murder, but Bouc stops him from killing Poirot.
Poirot realizes that Arbuthnot — a medical doctor and former army sniper — never meant to kill him. Poirot confronts the suspects outside the train, offering two theories of how Cassetti died. The first is simple but does not meet all of the facts: A murderer disguised as a conductor boarded the train at a previous stop, murdered Cassetti, and fled at the stop as the train left. The second is more complex: with every single suspect connected to the Armstrongs, Susanne, or her trial in some way, they all had a motive against Cassetti.
Poirot predicts that they acted together. Hubbard is revealed to be Linda Arden, a former stage actress and aspiring director, and Sonia Armstrong's mother. Hubbard confirms the latter, admitting that she planned the murder and had recruited everyone else to help her. All the other passengers and the Conductor, Pierre Michel (Susanne's brother), took turns stabbing Cassetti. Mary wore the kimono, and Arbuthnot stabbed Hubbard without endangering her life, to convince Poirot of a lone killer. Poirot challenges the passengers and Michel to shoot him with a confiscated gun since he is the only one who can expose their plot; Bouc can lie, but Poirot, obsessed with truth and balance, cannot. Hubbard grabs the gun and tries to kill herself, but it is not loaded; Poirot wanted to see how the suspects would react.
With the train back on track, Poirot concludes that justice is impossible in this case, as Cassetti deserved death; for the first time, Poirot will have to live with a lie and imbalance. He presents the lone killer theory to the police, allowing the others to leave on the train. As he disembarks, a messenger asks him to investigate a. Poirot accepts the case.
as. as Bouc. as Pilar Estravados. as Gerhard Hardman. as Princess Dragomiroff. as Edward Ratchett.
as Hector MacQueen. as Edward Henry Masterman. as Dr. Arbuthnot. as Caroline Hubbard. as Mary Debenham.
as Hildegarde Schmidt. as Countess Helena Andrenyi. as Pierre Michel. as Biniamino Marquez.
as Count Rudolph Andrenyi. as Sonia Armstrong. Phil Dunster as Colonel John Armstrong Production announced the project in December 2013. Wrote the screenplay for a new film adaptation of. On June 16, 2015, it was reported Fox was in talks with to direct. On November 20, 2015, it was announced that Branagh would both direct the film and star in the role of detective. He later said that he 'enjoyed finding the sort of obsessive-compulsive in Poirot rather than the dandy.'
On the film began on November 22, 2016, in the United Kingdom, and concluded in May 2017. It used some of the same cameras as 's, which Branagh had acted in shortly before the production. The two were among the very few to be shot on 65mm film since Branagh's in 1996, and the only ones released in 2017.
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While in post-production, Branagh 'was Skyped in from thousands of miles away' to watch Pfeiffer record an original song called 'Never Forget' for the film's finale. 'As soon as we added it on to the end of the film, it joined seamlessly and gave a moment of reflection and consideration that the film needed and wanted,' said Branagh. Release A first look at the film and cast was released on May 3, 2017, in an exclusive article. Murder on the Orient Express was released in the United Kingdom on November 3, 2017 and in the United States on November 10, 2017,. The film was released on Digital HD on February 20, 2018, and on, and on February 27, 2018. Reception Box office Murder on the Orient Express grossed $102.8 million in the United States and Canada, and $249 million in other territories, for a worldwide total of $351.8 million, against a production budget of $55 million.
In the United States and Canada, Murder on the Orient Express was released alongside, and was projected to gross around $20 million from 3,341 theaters in its opening weekend. The film made $10.9 million on its first day, including $1.6 million from Thursday night previews at 2,775 theaters. It ended up grossing $28.7 million, finishing third at the box office, behind holdover, and Daddy's Home 2. 51% of the film's opening weekend audience was over the age of 35. In its second weekend, the film took in $13.8 million (a drop of 51.9%), finishing fifth, behind, Thor: Ragnarok and Daddy's Home 2. Critical response On, the film has an approval rating of 57%, based on 241 reviews, with an of 6.1/10.
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The website's critical consensus reads, '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.' On the film has a weighted average score of 52 out of 100, based on 45 critics, indicating 'mixed or average reviews'. Audiences polled by gave the film an average grade of 'B' on an A+ to F scale. Leah Greenblatt of gave the film a B+, calling it 'a lushly old-fashioned adaptation wrapped in a veritable of pearls, monocles, and international movie stars.' Blake Goble of said, 'Handsomely staged, exceptionally well-cast, and reasonably faithful, Branagh has revived Murder on the Orient Express in a highly pleasing fashion.'
Trace Thurman of gave the film three and a half skulls and said, 'For those looking for an involving murder mystery that is respectful of its source material and filled with an all-star cast, look no further than Murder on the Orient Express.' Matt Goldberg of gave the film a B−, calling it a 'handsomely crafted production,' albeit one that 'falls apart at the climax of the film.'
Josephine Livingstone of praised the film's 'stylized gorgeousness,' but wrote that Branagh's change of 'Poirot's fussiness. Into obsessive compulsive tendencies' was 'less distinct and, ultimately, less interesting'.
On the negative side, Matthew Jacobs of was impressed by the cast, but ultimately felt 'Agatha Christie's whodunit has no steam.' Of found that there were many dull moments and that the film was a needless remake. Of gave the film two and a half stars, and stated that he felt it focused too much on Poirot to the detriment of the other characters, adding, 'Never let it be said the director misses an opportunity to place his star front and center, unfortunately relegating just about everyone else in the obligatory International All-Star Cast to a paper-thin character with one or at most two defining personality traits.' Of rated the film a C+ and complained that Branagh's 'erratic direction—more interested in cut glass and overhead shots than in suspicions and uncertainties—bungles both the perfect puzzle logic of the crime and its devious solution.'
Christopher Orr of said the film was 'visually sumptuous yet otherwise inert' and summed up, ' Murder on the Orient Express is not a bad movie per se, merely one that feels self-indulgent and thoroughly unnecessary.' . ^ Debruge, Peter (November 7, 2017). Retrieved November 9, 2017. ^ (November 10, 2017). Retrieved November 9, 2017. Retrieved October 22, 2017.
Retrieved May 23, 2018. Retrieved June 15, 2018. Mitchell, Robert (May 5, 2017). RYOT Studios (November 1, 2017). McNary, Dave (December 12, 2013). Retrieved November 25, 2015.
Geier, Thom (June 16, 2015). Retrieved July 11, 2015. ^ McNary, Dave (November 20, 2015). Retrieved November 25, 2015.
McEvers, Kelly. All Things Considered (Interview). Retrieved November 26, 2017. Daniels, Nia (November 22, 2016). The Knowledge.
Media Business Insight. Retrieved November 22, 2016. Daniels, Nia (November 15, 2016). Retrieved November 22, 2016. Ritman, Alex (October 27, 2017).
Retrieved November 9, 2017. Wooding, Andy (December 6, 2017). Retrieved December 6, 2017. Collis, Clark (May 3, 2017). Retrieved May 3, 2017. Lang, Brett (April 22, 2017). Retrieved April 22, 2017.
D'Alessandro, Anthony (October 25, 2017). ^ D'Alessandro, Anthony (November 11, 2017). Retrieved November 11, 2017. D'Alessandro, Anthony (November 19, 2017). Retrieved November 19, 2017.
Retrieved 23 April 2018. Retrieved December 23, 2017.
Greenblatt, Leah (November 7, 2017). Retrieved November 8, 2017. Goble, Blake (November 8, 2017). Retrieved November 8, 2017. Thurman, Trace (November 8, 2017). Retrieved November 9, 2017.
Goldberg, Matt (November 9, 2017). Complex Media. Retrieved November 9, 2017. Livingstone, Josephine (November 8, 2017).
Retrieved November 26, 2017. Jacobs, Matthew (November 8, 2017). Retrieved November 8, 2017. (November 7, 2017).
Retrieved November 8, 2017. (November 8, 2017). Retrieved November 8, 2017. Vishnevetsky, Ignatiy (November 8, 2017). Retrieved November 9, 2017. Orr, Christopher (November 10, 2017).
The Atlantic Monthly Group. Retrieved December 27, 2017. January 3, 2018. From the original on January 3, 2018.
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December 6, 2017. Retrieved January 22, 2018. Meechan, Lauren (January 12, 2018). Express Newspapers.
Retrieved January 22, 2018. Ruby, Jennifer (January 19, 2018). Retrieved January 29, 2018. Ritman, Alex (January 22, 2018). Retrieved January 29, 2018.
December 12, 2017. Retrieved January 22, 2018. Neglia, Matt (December 18, 2017). Next Best Picture. Retrieved January 22, 2018. Tartaglione, Nancy (December 19, 2017). Retrieved January 22, 2018.
Tangcay, Jazz (December 11, 2017). Retrieved January 22, 2018. Retrieved January 22, 2018. November 29, 2017. Retrieved January 22, 2018. McNary, Dave (March 15, 2018).
From the original on March 15, 2018. Retrieved March 15, 2018. December 11, 2017. Retrieved January 22, 2018. Douglas, Esme. Archived from on August 13, 2018. Retrieved August 13, 2018.
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Although the story remains fairly true to the 1934 novel of the same name by Agatha Christie, this third screen adaptation (following adaptations in 1974 and 2001) is a bit of a mess. And that's putting it mildly. Worse, and as ironical as it sounds, the film loses steam even before the titular locomotive pulls out of the first act.
An all- star cast lead by director Kenneth Branagh himself isn't enough, even with the latter portraying Belgian master detective Hercule Poirot who turns out to be more moustache than man. Which is sad, given that literary crime fiction has Poirot second only to Arthur Conan Doyle's super sleuth on 221B Baker Street. But in this film, Christie's most famous character is reduced to a mumbling idiot who would rather set both feet in horse poop just to make a half-baked point about order and balance.
Shot on 65mm film, aerial vistas of a train trudging through the Alps sure looks pretty. The production design also boasts of lavish set pieces, plush backdrops, and costumes tailored to that era. But really, all we want is an old fashioned murder mystery.
Perhaps an amazing display of deductive reasoning before arriving at a twist ending? Surely, that isn't too much to ask. Add the mouthwatering cast in a plot that thickens into one of the most ingenious yet baffling cases penned by Christie and we have a first class whodunit in this day and age of cinema. But as it turns out, this was indeed asking for too much.
Like the bloodied victim, something dies very early in the film. And that's before the story starts juggling the remaining 12 suspects into the 12 agonizing labours of Hercules. Or was it Hercule? Either way, Agatha would be aghast.
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