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A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

The film never slows down or bores, plunging from one harrowing sequence to the next.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

By the time that this film was made of Agatha Christie's "Murder on the Orient Express," David Suchet had played the role of Hercule Poirot for more than two decades. In that time, he had delved into and dissected the character that Christie created. Suchet had played Poirot in dozens of films from Christie stories. He had studied Poirot's appearance, his manners and mannerisms, his speech and his carriage. Suchet had probed the depth of the character. And, he fine-tuned his arrogant behavior with subtle, small changes as he, and the character, matured in the role over the years. Audiences knew Hercule Poirot only as Suchet now presented him. It was now 3½ decades since the original defining "Orient Express" of 1974. Albert Finney in the lead role and more than a dozen big name screen stars of the day had presented a masterpiece on film. But in between, a 2001 modernized version of the story was made for TV and aired on CBS. To say that that version was forgettable would be the kindest thing one could say about it. So, with movie rights in hand, ITV took another look at Christie's story. The writers returned to the original story and considered the darker overtones of the novel. They made one change in the plot toward the end that added an aspect of intrigue. And this time, they looked more deeply into Poirot's character, which, by now, had become so familiar to many millions of people through the British TV series and many individual films. Christie wrote a background for her 1934 mystery based on a real event. In March 1932, a kidnapper took the one-year old baby boy of the Charles Lindbergh's from their home in New Jersey. Two months later, the boy's body was found in the woods not far from the home. This movie is set in 1938, as war loomed in Europe, so the fictional kidnapping and killing in the story would have been in 1933. By 2010, the millions of viewers and fans of the previous two decades would be very much aware of Hercule Poirot's strong views on types of crimes. He vehemently disapproved of murder. No one could ever be justified in killing another human being in cold blood. Poirot believed strongly in justice under the law. And, with this new film, viewers get a further look into Poirot. He cannot tolerate revenge that leads to vigilante justice. This differs from the book though, where Poirot was a little empathetic toward those who wanted to right a miscarriage of justice. The producers did many things to capture the time of the story. The train cars were rebuilt to resemble those of the 1930s, down to the decorations, art works and frills. The costumes, dress, makeup and grooming condiments were authentic for the period. Much research went into the planning of this new film. The script, direction and acting meticulously followed the manners, mannerisms and customs of the time. The 1974 film was true to the book and met with Christie's approval. Yet it didn't explore the dark side of murder as deeply as does this 2010 film. In this film, the script and cast play it just slightly more somberly. And Greta Ohlssen iterates how the avengers justify their form of vigilante justice. It's when God has not seen that justice was done. The contrast with Poirot and his serious moral convictions (when he prays the rosary), is striking. Poirot's strong abhorrence for anyone killing another person remains. This film is every bit as good as the 1974 movie. Each has its own appeal, with a slightly different approach. The preferred roles of the casts vary between the films. Suchet's Poirot is slightly better than Finney's. But most of the rest of the cast in the 1974 film outshine the performances of the 2010 film. Richard Widmark's Rathchett is much better than that of Toby Jones who seems to be overacting at times. Sean Connery's Col Arbuthnot is much better than David Morrisey's role. And, Ingrid Bergman is for superior to Marie Croz at Greta Ohlsson.

Considering how old the tale is, this is a perfect example of the genius of Agatha Christie. But I will be very quick to add that with the casting can make or break such a gem. And this version is very well played. Poirot(Suchet) has now earned his reputation as a great actor and it allows the viewer to really enjoy the tale. So about the tale...without giving away too much, I will say that this movie is worth the watch...every bit of it. Enjoy.

The film gets marvelous interpretations , lush costume design and adequate production design along with glimmer photography . The movie is an excellent whodunit and this version of the story takes place in 1938 , concerning about one murder on the Orient Express train with Hercules Poirot , David Suchet , as the intelligent sleuth-man to solve it . There Hercule meets various passengers and Ratchett , Toby Jones , an American executive , traveling with his valet and male secretary , and he attempts to secure Poirot's services as he fears that his life is in danger . When the murder of the abrasive American businessman occurs on the train he's travelling on , celebrated detective Hercule Poirot is then recruited to solve the case . Shortly after , the Orient Express is blocked by a blizzard in Croatia . There are many suspects , all support cast : David Morrissey , Susanne Lothar ,Barbara Hershey , Hugh Bonneville , Steven Weaver , Jessica Chastain ... As usual , the final scenes, Poirot shares his solution of the case. In the picture there is mystery , emotion , suspense , twists , actors's interpretations are wonderful and including snowy outdoors . At the beginning of the film talks about a kidnapping and killing a baby similarly to the Lindberg's son and which the murderer was condemned to death row , this one will be related with the death of the train . In fact , Agatha Christie's story , being published in 1934 , was inspired by the notorious kidnapping, and subsequent murder, of famous aviator Charles A. Lindbergh and Anne Morrow Lindbergh's baby, Charles Lindbergh Jr. in 1932 . The pace is deliberate , slow and relaxed . And while the dialogue is in English, the film has a deliciously international flavor , with a mix of interesting accents and word pronunciations . The motion picture is only set on two scenarios : the station and train . However this doesn't make boring it . The support cast is pretty good , formed mostly by British and American actors , such as : Jessica Chastian , David Morrissey , Toby Jones , Stanley Wever , Samuel West , Joseph Mawle , Serge Hazanavicious , Marie-Josée Croze and special mention for Eileen Atkins as the veteran as well as bittered Princess Dragomiroff and Hugh Bonneville who portrays a trusted valet of a wealthy gentleman . The set design and costumes are riveting , the flick is magnificently set by that time . Evocative and suspenseful musical score by Christian Henson . Alan Almond's cinematography is atmospheric and colorful ; being shot at Pinewood Studios in Buckinghamshire, where the design team built a believable replica of an Orient Express carriage . This Hercule Poirot episode was efficiently directed by Philip Martin .The TV movie will appeal to suspense enthusiasts and thriller lovers. There are several adaptation based on this known novel by Agatha Christie : Murder on the Orient Express (2001) by Carl Schenkel with Alfred Molina as Hercule Poirot , Meredith Baxter , Leslie Caron , Adam James , Dylan Smith , Tasha de Vasconcelos , Amira Casar and Peter Strauss . And the outstanding rendition was Murder on the Orient Express (1974) by Sidney Lumet Sean Connery , Anthony Perkins , Vanessa Redgrave , Jacqueline Bisset , Richard Widmark , Rachel Roberts , John Gielgud , Michael York and Ingrid Bergman's Oscar-winning performance . And finally Murder on the Orient Express (2017) starred and directed by Kenneth Branagh with Johnny Depp , Josh Gad , Derek Jacobi , Adam Garcia , Judi Dench , Penelope Cruz , Olivia Colman and Daisy Riley .

It happened more than once that a death occurred while I was on a train, just in my case, it was a suicide on the tracks, not a murder. This 2010 adaptation of a Christie classic starring the brilliant David Suchet can be credited with the same good stuff we're used to by now- excellent production design, period-accurate interiors and costumes. What makes the movie interesting is the combination of a small enclosed space-train cars stuck in snow-with a group of colorful characters made of a Russian princess, an American governess, a former driver and a doctor, among others. During the night, one of the passengers is stabbed to death in spite of having had asked Poirot for protection, which he refused. Of course, Poirot starts an investigation and unfolds a surprising connection of all passengers with the murder case of a young American heiress. Being from former Yugoslavia, it is a bit flattering that Christie set the novel within the country. In many recent episodes, Poirot is portrayed with a devout, religious side to his character, which in my mind is too much in contrast with his logic-based approach to solving his cases. "Murder on the Orient Express" is a great example of that, because it obscures the line between poetic justice and morals. Eileen Atkins and Jessica Chastain deliver great performances as the wax-faced and stoic Princess Dragomiroff and Miss Davenham, the fragile teacher. The solution is the only one of that kind in the whole Poirot series, based on the disappointment into the judicial system and the individual right to exert justice when being let down by official institutions in charge of it. In the end, you're left wondering what you would have had done in Poirot's position, and this might be the only episode in the series to have such an effect on you. The gorgeous winter landscape only accentuate the cold-blooded manner of the murder, clashing breathtaking beauty with breathtaking cruelty. I'm not one to mind on-screen plot alterations as long as they're subtle and add to the effect of the movie, which was certainly the case here. Which is why I prefer to regard it as an individual work, not that common in the Christie crowd, it seems.