Movies
[Review] ‘Murder on the Orient Express’ is a Lovely Ode to Old-Fashioned Murder Mysteries
How long has it been since we’ve had a good old-fashioned murder mystery on the big screen? Much less one with a star-studded cast like the one in Kenneth Branagh’s latest adaptation of Murder on the Orient Express? It has been quite a while. Diving into the deep well of Agatha Christie novels, Branagh and screenwriter Michael Green have crafted a loving tribute to the genre that proves to be light on character development but heavy on fun.
In the hopes of taking a break from his daily life as a world-famous detective, Hercule Poirot (Kenneth Branagh) boards the Orient Express for some much needed R&R. While aboard the train, Poirot meets the rather detestable Edward Ratchett (Johnny Depp, the most understated he’s been in years), who asks him to figure out who has been leaving him threatening notes since his arrival on the train. After declining his offer with a hilariously succinct response (“I don’t like your face”), Ratchett is found murdered in his train cabin. Poirot then begins interrogating the remaining passengers on the train in order to solve the murder.
The suspect list is a long one: we’ve got a governess (Daisy Ridley), a count (Sergei Polunin), a countess (Lucy Boynton, The Blackcoat’s Daughter), a widow (Michelle Pfeiffer), a professor (Willem Dafoe), a missionary (Penélope Cruz), an assistant (Josh Gad), a princess (Judi Dench), a doctor (Leslie Odom Jr.) a butler (Derek Jacobi), a salesman (Manuel Garcia-Rulfo) and a maid (Olivia Colman, Hot Fuzz). And yes, I took those descriptions from the trailer.
As evidenced by that lengthy cast list, Murder on the Orient Express is a very crowded film. In fact, that proves to be the film’s only major flaw. Green could have afforded to excise two or three characters from his screenplay in order to flesh out the others. No one player is given the focus, save for Branagh of course. His Hercule (pronounced air-cyule, and he won’t let you forget it) is given a lengthy introduction before the film even boards the titular vehicle, and he remains the focus for the remainder of the film. Distributor 20th Century Fox is clearly wanting to start a franchise with Murder on the Orient Express, and is using the film to re-introduce an iconic character to a new audience. This isn’t too problematic since Branagh portrays Poirot with a quirky and infectious sense of glee. With every other line out of his mouth inspiring a chuckle, he manages to run away with the film.
Unfortunately, this leaves everyone else in the cast to a limited amount of screen time, making them no more than one-dimensional characters. Boynton and Polunin are particularly shafted, each of them earning a mere three scenes at most. You’d be hard-pressed to distinguish between the characters had they been portrayed by a cast of unknowns, however. That being said, we are dealing with a plethora of extremely talented actors and they all make the most of their screen time. Pfeiffer, in particular, manages to overcome the weaknesses of Green’s script and give us the most well-rounded character outside of Poirot.
The real star of the film is Haris Zambarloukos’ luscious cinematography. Filled with gorgeous shots of snowy landscapes, the film never ceases to amaze. Zambarloukos shows even more talent in the confined spaces of the Orient Express (one overhead shot near the end of the first act stands out). Working with that limited space, he conveys a necessary sense of claustrophobia while still managing to give Jim Clay’s detailed production design the attention it deserves. It’s easy to see why Branagh, who previously worked with him on Thor and Cinderella, decided to bring him back for this film.
Murder on the Orient Express is so committed to its old-fashioned sensibilities that some viewers may find the proceedings to be lacking in the twists and turns that modern audiences are used to, but Green keeps things moving at a brisk pace and the nearly 2-hour runtime flies by. It is never boring, and it feels like the equivalent of a fun summer read. What more can you ask for in a film like this? The climactic reveal may not pack as much of a wallop as it did in 1934, but it injects the film with a necessary moment of emotional resonance that elevates it above more shallow entries in the genre. Admittedly, I probably enjoyed the film more because I have never read Christie’s novel or seen Sidney Lumet’s 1974 film adaptation of it, thereby retaining a somewhat necessary element of surprise. It will be interesting to see if it holds up on a repeat viewing.
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. With any luck the film will find an audience (20th Century Fox seems to have confidence that it will, as it ends with a tease for a sequel featuring one of Poirot’s other well-known cases), especially seeing as how it is representative of a type of film we don’t really see anymore. I’d be all for a new Poirot film every couple of years. Lord knows there’s plenty of source material to draw from.
This week’s big new horror release is of course Evil Dead Burn in theaters later in the week, but you don’t have to wait until this weekend to inject fresh nightmares into your eyeballs.
Five brand new horror movies have already released at home this week.
Here’s all the new horror that released on Tuesday, July 7, 2026!
Director André Øvredal’s (The Autopsy of Jane Doe, Scary Stories to Tell in the Dark, The Last Voyage of the Demeter) new movie Passenger is now available on Digital at home.
Here’s the synopsis for Passenger: “A few weeks into their van life adventure, a young couple witnesses a horrific accident that leaves the driver dead. Soon they’re being pursued by a demonic stalker who’s impossible to outrun and follows them wherever they go.”
André Øvredal told Bloody Disgusting in an exclusive chat, “It’s a road movie, which is what I really fell in love with. It’s totally unique for me as a horror movie. Bridging the road movie with a haunting, essentially, on the road. I think it’s the scariest movie I’ve made.”
The cast includes Jacob Scipio, Lou Llobell, Melissa Leo, Tony Doupe, Bonni Dichone, Devielle Johnson, Jessica Cruz, Miles Fowler, and Alan Trong.
The screenplay is written by Zachary Donohue (The Den) and T.W. Burgess (Mister Howl). Former Warner Bros production executive Walter Hamada, who steered the Conjuring and It franchises, is producing via his 18hz as part of his first-look deal with Paramount. It screenwriter Gary Dauberman is also producing via Coin Operated.
Supernatural horror, psychological suspense, and an eye-catching creature take center stage in The Leaching, now available on Digital from Dark Star Pictures and Uncork’d Entertainment.
“After waking up in a grave on her father’s isolated forest property with no idea of who she is or how she got there, Vivian must use her limited memory to piece together the nightmarish truth, all the while being tormented by the undead, a giant leech monster, and her ‘father.’
“Over the next few days, she will uncover the framework of a truly nefarious supernatural scheme, but will it be too late?”
The Leaching is written and directed by Evan Showalter (Ante Mortem, Bad Music Terry).
“The Leaching is an exploration of faith, the loss of self, and the monsters (literally) that emerge when people surrender themselves to something greater than they can understand,” says Showalter. “It’s an isolating horror film that plays with a very uncomfortable question.”
A film student finds herself trapped in a giallo nightmare in lo-fi horror movie City Wide Fever, which is now streaming exclusively on the Midnight Pulp streaming service.
The meta horror movie is from debut writer/director Josh Heaps.
In City Wide Fever, “Sam, a young film student, discovers a USB detailing the life and career of forgotten Italian horror director Saturnino Barresi.
“As she begins to investigate his mysterious disappearance, Sam finds herself pulled into a violent conspiracy eerily similar to those of the films she adores.”
Diletta Guglielmi, Angelica Kim, and Nancy Kimball star with Onur Tukel (Summer of Blood), Larry Fessenden (You’re Next), Carolyn Farina, and comedian Ian Fidance.
Paul Lê wrote in his review for Bloody Disgusting, “This isn’t just a case of throwback filmmaking that’s been achieved with contemporary technology; the director used era-authentic equipment to help create this striking and nostalgic piece of modern horror. The end result is a movie… teeming with enough verve and style to make it feel fresh.”
A Gen Z slasher that pays homage to ’90s teen slasher movies, You’re Dead to Me is now available on Digital outlets at home courtesy of distributor Dark Star Pictures.
In the slasher film, “Three high school seniors skip prom for a secluded weekend party free from parents, school, and responsibility, but their escape turns terrifying when they learn one of their classmates has been brutally murdered.”
Denise Richards (Valentine) stars alongside Siena Agudong (Sidelined: The QB and Me, Sidelined 2: Intercepted), Jessica Belkin (“Baywatch” ), Ella Anderson (“Henry Danger,” Song Sung Blue), and Conor Husting (“Boo, Bitch”, Hollywood Stargirl).
The film was directed by Juan Pablo Arias Munoz.
You’re Dead to Me was co-written by Sarah Howard and Terry Castle, the daughter of the legendary producer and filmmaker William Castle (House on Haunted Hill, The Tingler).
Steven Quale (Into the Storm, Final Destination 5) directed the supernatural thriller Black Box, which has now taken flight on Digital outlets courtesy of Aura Entertainment.
The film is based on the short film The Vessel, and an original screenplay from horror writer Stephen Susco (The Grudge, The Grudge 2, Texas Chainsaw 3D, Hell Fest).
Black Box (Flight 298) follows the supernatural events surrounding Vero Airlines 298 from New Orleans to Seattle.
Tom Brittney, Holly Leena White, Betsy Blue English, Dane Whyte O’Hara, Kaja Chan, Asa Ali, Boadicea Ricketts, Ceallach Spellman, Georgina Leonidas, Molly Belle Wright, Hanneke Talbot, Danny Mack, and Weronika Rosati star in Black Box.
Hammerstone Studios’ Alex Lebovici (Barbarian, Boy Kills World) and Jon Oakes (Drive, The Guilty) will produce alongside Capstone’s Christian Mercuri and David Haring (Bill & Ted Face the Music), Warren Zide (The Final Destination, American Pie), and Susco. Ruzanna Kegeyan and Roman Viaris of Capstone, and Clark Baker (Vessel) will executive produce.
What happened to Flight 298? Find out on Digital outlets now.
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