It’s 1934, and Hercule Poirot is the greatest detective in the world. No detail escapes his eye, and he’s almost compulsively devoted to justice. As you can imagine, both of these things make him a sought-after commodity. So much so that he barely has any time for himself. But not anymore. He’s just solved a major case in Jerusalem, and he’s setting off from Istanbul for some much-needed R and R. But, what’s this? One of the train’s passengers has been murdered, and no one knows who did it? Well, it looks like that R and R will have to wait, because there’s a mystery that needs solving, and there’s only one man to solve it.
I’ve been a fan of Kenneth Branagh for years; ever since I saw him as Professor Lockhart in Harry Potter and the Chamber Of Secrets. Then, when I got older, and I watched his directorial efforts, particularly his Shakespeare adaptations, my respect for him grew ten-fold. So when I heard that he was directing a period-mystery-thriller, I knew I’d have to give it a look. And, last night, I did just that. How was it, you ask? Well…
On the positive side, the movie looks amazing. And I don’t just mean the costumes and sets. The cinematography in this film is gorgeous. There are so many beautiful tracking shots, wherein the camera just glides down the train, pausing every once in a while to linger on a particular person or thing, that it makes you want to drool. And the acting, as you expect from a Branagh-helmed film, is superb. Everyone, even people who are only in a few scenes, does a terrific job. And that’s because every single character is played by a world-class actor. And lastly, and most importantly, the film is never boring. The pace is quick, and there are more than enough twists to keep you invested. So, if you’re just looking to watch a well-made mystery, you won’t be disappointed. This film definitely delivers on that front.
That said, I left the theater feeling somewhat let down. Not because of any technical shortcomings, mind you. The story just felt, for lack of a better word, silly. When you learn what’s actually going on, and how stupidly and conveniently connected everything is, you find yourself rolling your eyes. What? This person was actually faking his accent, because he’s really banging this person, who’s actually the ill-legitimate daughter of that person? That’s the kind of silly, overly convoluted nonsense this picture throws at you. If you’ve ever seen Clue, or, better yet, Murder By Death, which directly parodies Hercule Poirot, you know the kind of exaggerated, one-note characters that exist in this film. But unlike those movies, which are comedies, this film plays all the silliness straight, and, in so doing, kind of shoots itself in the foot. Yes, this movie is based off of a book written in the 1930s. But, the thing is, we don’t live in the 1930s. I think that perhaps they should have updated the story a bit; maybe omitted a few of the sillier twists.
Still, I’d be lying if I told you that this was a bad film, or that I wasn’t consistently engaged by it. So, for that reason, I would recommend you all go see it. I put it in the same category as films like The Foreigner; good premise, good production values, but less than stellar execution. Make of this what you will.