Added Nov 12, 2017 Murder on the Orient Express: B-Roll 2. 5:23 Added: Nov 12, 2017 Murder on the Orient Express is a watchable, picturesque murder/mystery that is really more of a theater
Credits →MURDER ON THE ORIENT EXPRESS is a remake of Agatha Christie’s classic 1934 mystery novel. Consulting detective Hercule Poirot, mourning his wife’s death, decides to take a vacation. A friend offers him the chance to head to travel from Istanbul to Europe on the luxury Orient Express train. Poirot notices the odd behavior of a dozen fellow passengers. They include an actress suffering the pains of fading glory, a doctor with an attitude and a nervous uptight missionary. Poirot’s forced to deal with the passengers as a detective when another passenger with a shady past is found stabbed to death. It would seem wise to leave a classic movie and novel untouched. However, Director Kenneth Branagh who also plays Poirot has delivered an astounding, captivating movie. He combines vivid performances by an all-star cast with stunning imagery, a magnificent score and a fine screenplay that attains an emotional, moral resonance far too often lacking in major studio fare. MURDER ON THE ORIENT EXPRESS is a thoroughly entertaining movie, but it's marred by some foul language and a weak, antinomian ending where relativism trumps justice and CC, Ro, FR, LL, VV, S, A, DD, M Strong moral worldview involving a murder mystery and pondering what is true justice, with some overt Christian, biblical elements and allusions including talk of sin, there’s a priest character in the movie’s opening sequence, and one character has become a Christian missionary, plus forgiveness plays a key part in the climax, allusions to being judged by a jury of one’s peers, plus some Romantic elements and some false theology at the end, including an antinomian ending that undermines the morality taught earlier in the movie and there's a Muslim imam character in the opening sequence; eight obscenities "d" and "h" words, two strong GD profanities and two light exclamatory profanities, plus some coy but not graphic innuendoes and sneers by one playboy character, showing a cavalier playboy attitude toward relationships; some brief strong and light violence includes a couple of gunshots that only graze their victims rather than really hurting them, a couple fistfights that also involve attempts between the antagonists to hit each other with blunt objects, flashbacks to the kidnapping murder of a child, a flashback reveals how the murder occurred implying a series of stab wounds that are not shown as they happen, a corpse is shown very bloody with a chest cavity opened from afar and above, a woman pulls a gun on herself, but it has no bullet when she pulls the trigger, references to the murder of a 3-year-old girl that greatly affected her family and those around her, and the murder of a villainous victim is shown as still having a devastating effect on the people involved; no depicted sex, but man is with what is revealed to be a prostitute while making wisecracks implying they’re fornicating; no nudity; social drinking of alcohol shown throughout this movie set in the 1930s; some occasional cigarette smoking and a character seems addicted to barbiturates because of past trauma; and, lots of deception and duplicity among many characters to hide the truth about a murder from a private detective and the ON THE ORIENT EXPRESS is a remake of the Oscar-winning 1974 hit movie starring Albert Finney, Ingrid Bergman and Sean Connery and brings the classic mystery novel by Agatha Christie to even more vibrant life. It would seem wise to leave that classic untouched, but Director Kenneth Branagh has stepped up to deliver a movie that pairs vivid performances by an all-star cast with stunning imagery and a magnificent score with a screenplay by Michael Green “Logan” that attains an emotional resonance far too often lacking in major studio fare. Best of all, this MURDER has been shot with the option of being displayed in the full, now-rare glory of the 70mm format. The result is a dazzling work of art that is alternately fun to watch and hard to shake, the very definition of must-see filmmaking and worth every penny viewers pay at today’s excessive prices. Branagh holds the screen magnetically with his lead performance as Inspector Hercule Poirot, a man whose ace deductive skills have made him famous across Europe. After an amusing opening sequence set in Jerusalem where he reveals that it’s a corrupt police officer who committed a heinous crime rather than the priest, rabbi and imam who are about to be executed publicly, Poirot declares his need for a vacation. While the inspector sports an impressive handlebar mustache and a showman’s panache, he’s secretly saddened by the loss of his wife. A friend takes pity on his loneliness and offers him the chance to hop a luxury passenger train called the Orient Express for some rest and relaxation from Istanbul to Paris. Poirot quickly notices a string of odd behavior and quirks from a dozen of his fellow passengers, including an actress who’s suffering the pains of fading glory Michelle Pfeiffer, a doctor with an attitude Leslie Odom Jr. and an uptight missionary Penelope Cruz. He’s forced to deal with them head-on when the train is trapped by an avalanche while traveling through the mountains, and especially when Ratchett, a boorish passenger with a shady background, played by Johnny Depp, is found stabbed to death in his cabin. As Poirot tries to unravel the mystery of who killed Ratchett, he discovers no one is exactly as they seem, including the victim himself. Trying to deduce the twisting motivations across so many fellow passengers leads to a delicious array of twists that pay off with a walloping surprise. The flaw in the otherwise well made movie is that it does not fulfill its premise. The premise is to find the truth and bring justice, but at the end relativism trumps truth and justice. Therefore, the end of the movie is unsatisfying. Certainly, some viewers may have seen the original movie or read Agatha Christie’s popular, brilliant 1934 mystery novel, but Branagh and Green manage to give this ORIENT EXPRESS an impressively profound moral sense. As the discovery of how the murder occurred is revealed, the lush score by Patrick Doyle “Hamlet,” “Sense and Sensibility” attains a tragic undertone that helps attain the rare feat of portraying even a righteously vengeful murder in a way that makes viewers feel every anguished moment in taking of a human life, no matter how evil the victim was or how just his premature death is. Haris Zambarloukos, who also brought Branagh’s MOVIEGUIDE Award winning, wonderful live-action movie version of CINDERELLA to vibrant life, creates scenescapes here that look like Thomas Kincaid paintings come to life. Now more than ever we’re bombarded by darkness in media, movies, and TV. Movieguide has fought back for almost 40 years, working within Hollywood to propel uplifting and positive content. We’re proud to say we’ve collaborated with some of the top industry players to influence and redeem entertainment for Jesus. Still, the most influential person in Hollywood is you. The viewer. What you listen to, watch, and read has power. Movieguide wants to give you the resources to empower the good and the beautiful. But we can’t do it alone. We need your support. You can make a difference with as little as $7. It takes only a moment. If you can, consider supporting our ministry with a monthly gift. Thank you. Movieguide is a 501c3 and all donations are tax deductible. A New Way To Experience Family Night A family devotional that combines your favorite movies with Gospel truths! An exciting and fun way to grow spiritually and together as a family Download for FREE right now and transform your family movie nights Enter your email to download your free devotion for families! "*" indicates required fields ShareNovelMurder on the Orient Express karya Agatha Christie merupakan salah satu novel tulisannya yang paling populer. Sudah pernah dibuatkan filmnya pada tahun 1974, 20th Century Fox mengumumkan akan membuat ulang proyek ini di tahun 2013 dan akhirnya di akhir November ini, film besutan Kenneth Branagh ini rilis di berbagai belahan dunia termasuk
Story Based on Agatha Christie’s celebrated crime mystery novel, the film revolves around the murder of a dubious businessman aboard the luxurious first class compartment of the Orient express. With almost every co-passenger being a suspect, Belgian detective Hercule Poirot’s Kenneth Branagh sharp deduction skills are put to test once Loaded with mysterious intentions, cheeky humour, clever repartee and an ensemble cast that comprises some of cinema’s biggest names, Murder on the Orient Express makes for an intriguing watch. Strangers being stranded on a stalled train makes for a great premise, given the thrill of finding a killer lurking this dangerous train ride has its own delays if not derailment. Kenneth Branagh who plays the most crucial character of Poirot and directs the film as well, looks like he is trying to bite off more than he can he manages to infuse the necessary underlying tension, awkwardness and silence between his characters, he and his dramatic moustache and accent struggle to make this retelling of 1930s whodunit, appeal to the contemporary audience. To set an entire movie in just one frame train compartment and yet make it look engaging is another challenge. Branagh wins some, loses particularly liked how he captures his characters as they steal a glance at each other. You wish the story played around their unspoken emotions a little more before diving straight into the investigation. Character buildup seems hurried and thus of Poirot and his obsession for balance’, only if Branagh had maintained that as a director as well. Barring Michelle Pfeiffer and Branagh himself, most talented actors like Judi Dench and Penelope Cruz get lost in the despite the glitches and avalanches, thanks to a stellar cast and gripping source material, this mysterious train journey is worth taking. Does it have a twist in the end? You have to watch the movie to know that.
MovieReview: Murder on the Orient Express. Alan Zilberman November 10, 2017. Film & TV Movie Review 0 4 min read. Movie Review: Murder on the Orient Express. 60 % Overall Score. Reader Rating 0 Votes. 0%. For nearly thirty years, Kenneth Branagh’s filmography has struck a balance between high culture and populist entertainment.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
Murderon the Orient Express review – delicious whodunnit fun Sun 5 Nov 2017 03.00 EST Last modified on Wed 21 Mar 2018 19.49 EDT. K enneth Branagh’s film adaptation of Agatha Christie’s
TRAILER 237 CLIP 204 CLIP 214 CLIP 214 Play all videos What to know Murder, intrigue, and a star-studded cast make this stylish production of Murder on the Orient Express one of the best Agatha Christie adaptations to see the silver screen. Read critic reviews Rent/buy Rent/buy Rent/buy Murder on the Orient Express videos Murder on the Orient Express Official Clip - The Night of the Murder CLIP 204 Murder on the Orient Express Official Clip - Colonel Arbuthnot CLIP 214 Murder on the Orient Express Official Clip - Stabbed Twelve Times CLIP 214 Murder on the Orient Express Official Clip - Ratchett's Murder CLIP 208 Murder on the Orient Express Official Clip - They're All Connected CLIP 142 Murder on the Orient Express Official Clip - The Armstrong Case CLIP 140 Murder on the Orient Express Official Clip - Getting Away with Murder CLIP 157 Murder on the Orient Express Official Clip - Poisoning Ratchett CLIP 211 Murder on the Orient Express Official Clip - Memories of Murder CLIP 159 Murder on the Orient Express Official Clip - Ratchett's Request CLIP 210 Murder on the Orient Express Trailer 1 TRAILER 237 Murder on the Orient Express Photos Movie Info Having concluded a case, detective Hercule Poirot Albert Finney settles into what he expects will be a relaxing journey home aboard the Orient Express. But when an unpopular billionaire is murdered en route, Poirot takes up the case, and everyone on board the famous train is a suspect. Using an avalanche blocking the tracks to his advantage, Poirot gradually realizes that many of the passengers have revenge as a motive, and he begins to home in on the culprit. Rating PG Genre Mystery & thriller Original Language English United Kingdom Director Sidney Lumet Producer John Brabourne, Richard Goodwin Writer Agatha Christie, Paul Dehn, Anthony Shaffer Release Date Theaters Nov 24, 1974 original Release Date Streaming Sep 7, 2004 Runtime 2h 7m Distributor Paramount Pictures Production Co EMI Films Ltd. Sound Mix Mono 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 Aug 07, 2017 Christie's flaws as a writer are only magnified in the film adaptions of her work In short, she cheats a lot and this one is no exception. That being said, Finney's Poirot is delightful. Super Reviewer May 10, 2017 A little bit of a revenge fantasy dressed up with loads of star power. Unfortunately the story is lame and unbelievable. Still its good to see the stars out. Ingrid Bergman and Albert Finney actually take the trouble to bother to act. Sep 13, 2016 Classic old fasioned whodunit based of the Agatha Christie novel of the same name. The cast is superb and Lumets direction is unquestionable brilliant. That finale where the clues are put together keeps you glued to the screen with every new beat. This is a pinnacle in detective films and I wish every film had this brilliance, who get swept up in the story that you forget to find the clues yourself. Mar 31, 2014 This is a film adaptation of one of many of Agatha Christie's Hercule Poirot stories, and it's one star studded affair. This particular caper follows Detective Poirot as he investigates the titular event a wealthy man is found dead on the train, the Orient Express. There's a number of possible suspects, each with their own motives, and it's up to Poirot to figure out who is responsible. Albert Finney is Poirot, and some of the other major players include LAuren Bacall, Ingrid BErgman, Sean Connery, Jacqueline Bisset, Richard Widmark, Vanessa Redgrave, and many more. The film is a good bit of fun, and it has a nice look to it, with some decent shooting, and yeah, the central murder mystery is decently engaging too. I'll admit that things get a little slow, bogged down, and a tad bit boring in the middle, but if you happen to fall asleep, things get wrapped up and summarized before the big finish, so that's okay too. All in all, this is a fun, ensemble spectacle that you should give a watch. Super Reviewer
Murderon the Orient Express: Movie Review by Alvin G. Burstein The birth of a literary genre cannot always be dated without dispute, but there is a strong consensus that the first detective story was The Murders in the Rue Morgue, published by Edgar Allen Poe in 1841. The detective, C. Auguste Dupin, called his method “ratiocination,” disciplined thinking. The []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.
Review ‘Murder on the Orient Express’ bores the little gray cells to death November 8, 2017 at 10:02 a.m. | UPDATED: But the
Murderon the Orient Express tayang di bioskop Indonesia mulai 29 November 2017. Be ready, everyone is a suspect! Baca juga: 10 Fakta Tersembunyi di Balik Murder on the Orient Express. Yuk, Kenalan dengan si Cantik Daisy Ridley
Murderon the Orient Experss merupakan film detektif yang menarik ditonton. Anda akan menemukan banyak kejutan di film ini. Murder on the Orient Express (2017) Pemecahan Teka-teki yang Mengasyikkan Poirot bertemu Bouc (Tom Bateman) di Istambul dan meminta bantuannya agar bisa naik ke kereta Orient Express yang dipimpinnya.
