Film Review – MURDER ON THE ORIENT EXPRESS (2017)

The Jam Report | REVIEW – 'Murder on the Orient Express'MURDER ON THE ORIENT EXPRESS (2017, USA/Malta) ***
Crime, Drama, Mystery
dist. 20th Century Fox; pr co. Twentieth Century Fox / Genre Films / Kinberg Genre / The Mark Gordon Company / Scott Free Productions / Latina Pictures / The Estate of Agatha Christie; d. Kenneth Branagh; w. Michael Green (based on the novel by Agatha Christie); exec pr. Matthew Jenkins, Dillon Kivo, James Prichard, Aditya Sood, Hilary Strong; pr. Kenneth Branagh, Mark Gordon, Judy Hofflund, Simon Kinberg, Michael Schaefer, Ridley Scott; ass pr. William Moseley; ph. Haris Zambarloukos (Colour. 70 mm (Kodak Vision 2383), D-Cinema. ARRIRAW (6.5K) (source format) (some scenes), Digital Intermediate (4K) (master format), Dolby Vision, Panavision Super 70 (source format). 2.39:1); m. Patrick Doyle; ed. Mick Audsley; pd. Jim Clay; ad. Dominic Masters; set d. Rebecca Alleway, Caroline Smith; cos. Alexandra Byrne; m/up. Chiara Ugolini, Luca Saccuman; sd. James Mather (Dolby Atmos | DTS 70 mm (70 mm prints)); sfx. David Watkins; vfx. Helen Judd, Veronique Messier Lauzon, Josiane Fradette, Jacinthe Côté, Mary Meng, Tim Pounds-Cornish, Peter Hume, Patrick Ledda, George Murphy, Sylvain Theroux, Vincent Poitras, Mathieu Raynault; st. James O’Donnell; rel. 3 November 2017 (UK), 10 November 2017 (USA); cert: 12; r/t. 114m.

cast: Kenneth Branagh (Hercule Poirot), Penélope Cruz (Pilar Estravados), Willem Dafoe (Gerhard Hardman), Judi Dench (Princess Dragomiroff), Johnny Depp (Edward Ratchett), Josh Gad (Hector MacQueen), Leslie Odom Jr. (Dr. Arbuthnot), Michelle Pfeiffer (Caroline Hubbard), Daisy Ridley (Miss Mary Debenham), Tom Bateman (Bouc), Derek Jacobi (Edward Henry Masterman), Lucy Boynton (Countess Elena Andrenyi), Olivia Colman (Hildegarde Schmidt), Manuel Garcia-Rulfo (Biniamino Marquez), Gerard Horan (Aynesworth), Sergei Polunin (Count Rudolph Andrenyi), Phil Dunster (Colonel John Armstrong), Miranda Raison (Sonia Armstrong), Hayat Kamille (Susanne), Marwan Kenzari (Pierre Michel).

Branagh directs and leads an all-star cast in this mystery based on the best-selling novel by Agatha Christie. Everyone’s a suspect when a murder is committed on a lavish train ride, and a brilliant detective must race against time to solve the puzzle before the killer strikes again. This is the second big screen adaptation of Christie’s celebrated, but heavily manufactured mystery. Branagh dons a bewilderingly large moustache but manages to capture the essence of the Belgian detective. However, in the director’s seat, he falls short of adding the required slow burn tension and instead focuses on the visuals, which are heavily digitised giving the scenery the look of a painting. He also embellishes the story with a couple of action sequences that do not serve the plot and merely seem designed to change the pace and fill the Hollywood quota. That said the basic story is adhered to and even though a tendency toward melodrama often creeps in, there is enough here to hold the interest, if not to match Sidney Lumet’s 1974 adaptation. Also previously filmed for TV in 2001, 2010 and 2015.

Film Review – MOTHERLESS BROOKLYN (2019)

Motherless Brooklyn | FlixsterMOTHERLESS BROOKLYN (2019, USA) ****
Mystery, Drama, Crime
dist. Warner Bros.; pr co. Class 5 Films / MWM Studios / Warner Bros. Pictures; d. Edward Norton; w. Edward Norton (based on the novel by Jonathan Lethem); exec pr. Adrian Alperovich, Sue Kroll, Daniel Nadler, Brian Niranjan Sheth, Robert F. Smith; pr. Michael Bederman, Bill Migliore, Daniel Nadler, Edward Norton, Gigi Pritzker, Rachel Shane, Robert F. Smith; ass pr. Silvana Tropea; ph. Dick Pope (Colour. D-Cinema. ARRIRAW (3.4K) (source format), Digital Intermediate (2K) (master format). 1.85:1); m. Daniel Pemberton; m sup. Linda Cohen; ed. Joe Klotz; pd. Beth Mickle; ad. Michael Ahern; set d. Kara Zeigon; cos. Amy Roth; m/up. Louise McCarthy, Joanna McCarthy, Kerrie Smith, John Quaglia, Sincere Gilles; sd. Paul Hsu (Dolby Digital); sfx. Jimmy Hays; vfx. Matthew Fernandez, Steven Weigle, Rebecca Dunn, Artur Elson, Vance Miller, Mark Russell, Eran Dinur, David Lebensfeld, Grant Miller, Osvaldo Andreaus, John Bair, Stevie Ramone, Luke DiTommaso; st. Stephen A. Pope; rel. 30 August 2019 (USA), 6 December 2019 (UK); cert: 15; r/t. 144m.

cast: Edward Norton (Lionel Essrog), Gugu Mbatha-Raw (Laura Rose), Alec Baldwin (Moses Randolph), Willem Dafoe (Paul Randolph), Bruce Willis (Frank Minna), Ethan Suplee (Gilbert Coney), Cherry Jones (Gabby Horowitz), Bobby Cannavale (Tony Vermonte), Dallas Roberts (Danny Fantl), Josh Pais (William Lieberman), Radu Spinghel (Giant Man), Fisher Stevens (Lou), Peter Gray Lewis (Mayor), Robert Wisdom (Billy Rose), Michael Kenneth Williams (Trumpet Man), Isaiah J. Thompson (King Rooster Piano Player), Russell Hall (King Rooster Bassist), Joe Farnsworth (King Rooster Drummer), Jerry Weldon (King Rooster Saxophonist), Eric Berryman (King Rooster Bartender).

Set against the backdrop of 1950s New York, the story follows Lionel Essrog (Norton), a lonely private detective afflicted with Tourette’s Syndrome, as he ventures to solve the murder of his mentor and only friend, Frank Minna (Willis). Armed only with a few clues and the powerful engine of his obsessive mind, Lionel unravels closely-guarded secrets that hold the fate of the whole city in the balance. In a mystery that carries him from gin-soaked jazz clubs in Harlem to the hard-edged slums of Brooklyn and, finally, into the gilded halls of New York’s power brokers, Lionel contends with thugs, corruption and the most dangerous man in the city to honour his friend and save the woman who might be his own salvation. Norton has delivered a movie from a bygone era with this noir-ish tale of murder and corruption. Norton himself is excellent as the afflicted detective, whilst a strong support cast includes Baldwin as the corrupt planning official and Dafoe as his embittered and estranged brother. The plot unfolds in traditional fashion and is laced with a wry sense of humour. Good creation of period setting is achieved through visual digital effects work, costume design, a brooding score and set dressing. It is a delight to see a film of this type that doesn’t feel the need to add Hollywood-style embellishments. It’s great entertainment, if a trifle overlong.