A Reel Review: MURDER ON THE ORIENT EXPRESS

Of all the film genres that have come and gone over the decades, the “whodunit” is probably the one that is missed the most. With a mystery at hand, various types of characters, and a problem-solver detective or sleuth, the stage is always set for an adventure full of twists and turns; and with the added bonus of letting the audience play along, trying to solve the mystery themselves, the genre could very well be the first interactive cinema. The genre has vanished from theatres faster than an escaping crook, but with director Kenneth Branagh’s version of MURDER ON THE ORIENT EXPRESS, perhaps it is time for a comeback.

In the winter of 1934, Hercule Poirot (Branagh), the world’s greatest detective, is on holiday travelling aboard a luxury train when Ratchett (Johnny Depp), an unpopular businessman with possible criminal ties, is found murdered. Poirot investigates the suspects, including Ratchett’s bodyguard (Josh Gad), a princess (Judi Dench), a widow (Michelle Pfeiffer), a Governess (Daisy Ridley), a doctor (Leslie Odom Jr.), a Spanish missionary (Penelope Cruz), a valet (Derek Jacobi), and a professor (Willem Dafoe).

With nearly a dozen possible suspects hailing from all corners of the globe and all walks of life, MURDER ON THE ORIENT EXPRESS weaves a maze of mystery, going in all different directions despite the straight-line confines of the train. Everyone is under Poirot’s close eye as they all are revealed to have some sort of motive against the victim, and Branagh keeps us guessing with each tiny clue.

EXPRESS is a mystery, but as a film it clicks as an ensemble piece. With such a large cast, many suspects need to make an impression. Some really stick out, while others fade into the background, and the ones we do spend time with are somewhat one-dimensional; serving little purpose other than revealing hints and clues to the mystery. Poirot gets the most work as a character, portrayed as a world-weary man who needs a break from his profession, but reluctantly gets pulled back in. It’s a nice touch which makes the eccentric and odd character relatable.

Despite being light on character, EXPRESS somehow works beautifully. Like any good “whodunit”, it’s a film packed with secrets, and the reveals can keep audience engaged and in the guessing game right up until the end. The sense of style that Branagh embraces is a throwback to the old days of Hollywood with star-studded films and lavish production. The period setting is brought to life in stunning detail, with the train and period-styles in hair and costumes a joy to see.

By directing and starring, Branagh certainly has his hands full here, but he proves to be more than capable of wearing two hats. In front of the camera he nails his Belgian accent, and his bits of humor are well-timed. Johnny Depp thankfully plays his character very straight, showing that he can still be a very good actor without stupid-looking costumes and endless slapstick. Michelle Pfeiffer is terrific, Daisy Ridley is charming, and Willem Dafoe shows just how great he can really be.

This MURDER ON THE ORIENT EXPRESS is, of course, based on the classic Agatha Christie novel, and is the second version to come to the big screen. Those familiar with the material won’t be surprised by the final reveal of the guilty party, but newcomers will get a good charge out of it. Branagh has put together a “comfort film” here; one that is familiar and doesn’t take many chances, but it functions well enough on its own to earn its place in an old genre.

BOTTOM LINE: See it