Showing posts with label michelle pfieffer. Show all posts
Showing posts with label michelle pfieffer. Show all posts

Monday, February 11, 2019

"ANT-MAN & THE WASP" (2018) Review

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"ANT-MAN & THE WASP" (2018) Review

Two months after the theatrical release of the explosive "THE AVENGERS: INFINITY WAR", the Marvel Cinematic Universe (MCU) released "ANT-MAN & THE WASP", the sequel to the 2015 movie, "ANT-MAN". Peyton Reed, who had directed the previous film, returned to helm the latest one. 

Set two years following the events of "CAPTAIN AMERICA: CIVIL WAR""ANT-MAN & THE WASP" found Scott Lang aka Ant-Man nearing the end of two years of house arrest for his participation in the battle at Leipzig Airport in Germany and his violation of the Sokovia Accords. Unbeknownst to Scott, his use of the Ant-Man suit and arrest led the U.S. government to view Dr. Hank Pym's Ant-Man particles technology and the Ant-Man suit as a violation of the Sokovia Accords. Both Hank and his daughter, Hope van Dyne, ended up becoming wanted fugitives from the law.

In the film's opening, Hank and Hope briefly manage to open a tunnel to the Quantum Realm, where they believe his wife, Dr. Janet van Dyne, might still be trapped after shrinking to sub-atomic levels during a mission as the Wasp in 1987. Two (or three) days before the end of his house arrest, Scott has a dream about him taking on Janet's body, when he was briefly inside the Quantum Realm two years earlier. He leaves a telephone message to Hank about the dream and a few hours later, finds himself kidnapped by Hope. Despite their anger at Scott for his actions with Captain America two years earlier, Hope and Hank need his help to stabilize Hank's quantum tunnel and pinpoint Janet's location, so they can retrieve her. However, there are a few problems that the trio have to overcome: 1) Evading Special FBI Agent Jimmy Woo, who has been assigned to monitor Scott; 2) prevent both arms dealer Sonny Birch and a quantumly unstable masked woman from Hank's past named Ava Starr aka "Ghost" from stealing Hank's shrunken lab that contains the quantum tunnel.

In the wake of movies like "BLACK PANTHER" and "THE AVENGERS: INFINITY WAR""ANT-MAN & THE WASP" seemed like a light, adventure frolic in compare. Like its 2015 predecessor, the movie is a story about a family. Yes, I can anticipate the next comment. "BLACK PANTHER" was also a family saga. But unlike that film, "ANT-MAN & THE WASP"is a lighter fare that centered around the Pym-van Dyne family and the rescue of one particular member - Dr. Janet van Dyne aka the Wasp. Or the first Wasp. For once, Scott's relationship with his daughter Cassie Lang does not play a major role in the film's narrative. But his business relationship and friendship with his fellow ex-convicts - Luis, Dave and Kurt - did. Luis, along with Dave, Kurt and Scott had created a home security firm called X-Con Security Consultants. However, Scott's efforts to help Hank and Hope threatened the friends' plans to recruit new clients and financing for their new firm. After many mishaps, kidnappings and brushes with the law, Scott managed to recruit his friends to help the Pym-van Dyne family rescue Janet van Dyne from the Quantum Realm and deal with the threat of the Ghost and especially, Sonny Burch. And Hank's past conflict with former colleague Elihas Starr led to him dealing with the latter's angry and desperate daughter, Ava Starr aka Ghost.

Just like the 2015 movie, "ANT-MAN & THE WASP" brimmed with a great deal of light and witty humor. Some of the humor struck me as a bit too light - especially Hope's use of the large-sized ant to fool the F.B.I. into believing that Scott had not broken his house arrest. But a good deal of the humor struck me as spot-on. This included a sequence in which Scott, while wearing Hank's unfinished Ant-Man suit, breaking into Cassie's school locker to retrieve the old one; Scott's witty interactions with the F.B.I. agent monitoring him, Agent Jimmy Woo; and the crazy car chase through San Francisco's streets in which Team Pym struggled to prevent both Sonny Burch's men and Ava from getting their hands on Hank's mobile lab. But if I had to select the funniest - and what I believe to be the second-best - scene in the movie, it would have to be the one in which Sonny Burch and his men attempt to extract information from Luis using drugs, while Dave and Kurt looked on. That had to be the funniest scene in the movie and one of the funniest in the entire MCU franchise.

"ANT-MAN & THE WASP" also featured some pretty good action sequences. First and foremost was the San Francisco car chase mentioned in the previous paragraph. I thought director Peyton Reed did an excellent job in switching back and forth between the scenes that featured either Ant-Man or the Wasp and Luis during the sequence. Both Ant-Man and the Wasp's fight scenes with the Ghost struct me as entertaining and a little mind-blowing. At the same time, Reed and the film's special effects team did an excellent job in conveying how the Pym particles tech used by Ant-Man, the Wasp and Luis affected the chase sequence. This chase culminated in an excellent visual moment in which an enlarged Ant-Man rose through San Francisco Bay in order to get his hands on Hank's lab, which had been snatched by Sonny Burch. Truly a memorable moment. But my favorite sequence featured the Wasp's first-rate brawl with Sonny Burch's men inside a San Francisco restaurant, as she attempted to retrieve the money she and Hank had gathered to pay for a piece of equipment that Burch had refused to give her.

However, for a movie strong on comedy, it provided a good deal of emotional drama and pathos in the film. After all, at its heart, "ANT-MAN & THE WASP" is a family-dominated film. Just as I had earlier pointed out. The movie opened on an emotional note as audiences watched Hank and Janet say good-bye to a young Hope before embarking on that mission that would leave Janet lost in the Quantum Realm for the next three decades. Between Janet's communication to her family via Scott's body, the revelation of Ava's family tragedy and her current physical state and more importantly, Janet's actual reunion with Hank and Hope; the movie brimmed with some deep and very satisfying emotions. The one sequence that left me in tears proved to be the Pym-Van Dyne family reunion. Audiences did not learn, until the film's first post-credit scene that the events of "ANT-MAN & THE WASP" had occurred before and during the events of "THE AVENGERS: INFINITY WAR". And ironically, that last moment in which moviegoers discovered how Thanos' snap affected the character in this movie struck me as more tragic and effective than the ending of "INFINITY WAR"

As much as I enjoyed "ANT-MAN & THE WASP", I cannot deny that it had flaws. For me, the film's main flaws stemmed from "CAPTAIN AMERICA: CIVIL WAR" and the Sokovia Accords. I have never liked the Sokovia Accords story arc. Not only did I find it questionable written, but not fully explored by the MCU after the 2016 movie - with the exception of early Season Four of "AGENTS OF S.H.I.E.L.D." and "ANT-MAN & THE WASP". My main problem with the Sokovia Accords is that the MCU writers do not seem to know the difference between an accord and a law. And since neither Scott, Hank or Hope had signed the document, I saw no reason why they should be affected. 

But apparently, after being rescued from the government's Raft by Steve Rogers aka Captain America; along with Clint Burton aka Hawkeye made a deal with the Federal courts and settled for two years of house arrest for violating the Accords. While being incarcerated inside the Raft, Scott had unintentionally revealed Hank's name, which led both Tony Stark aka Iron Man and Thaddeus Ross to recall that Hank Pym had created the Ant-Man suit. But when Scott made the deal, both Hank and Hope became wanted fugitives because Hank had not registered the Ant-Man suit. I have a lot of problems with this scenario. 

One, due to the bombing in Vienna, Austria; the Accords had not yet been ratified when Scott and Clint were first arrested. Two, Hank had first created the Ant-Man suit back in the 1980s and had been unaware of Scott's use of the suit in Berlin. After being freed by Steve, Scott had shrunken the suit and mailed it to his daughter Cassie, while declaring that it had been destroyed. If the suit was officially considered destroyed, why was Scott arrested anyway without the crucial evidence any prosecutor would need to convict him? Why were Hank and Hope declared as fugitives for failing to register a suit that officially no longer existed? Why did Hope become a wanted fugitive? The Feds remained unaware of the Wasp suit and her use of it. And she had played no role in the creation of the Ant-Man suit. Also, the writers did not need the Sokovia Accords as a reason for Scott to face conviction and house arrest. He had violated his parole when he left the country to help Steve, Sam Wilson aka the Falcon and the others. One day, I will write an article on why I regard the Sokovia Accords arc as the biggest pile of shit ever created by the Marvel Cinematic Universe (MCU). But I will add that the story arc made the narrative for "ANT-MAN & THE WASP" occasionally frustrating for me.

"ANT-MAN & THE WASP" suffered from one more flaw. The movie's villains did not strike me as particularly strong. As individual characters, both Sonny Burch and Ava Starr were interesting. They did not strike me as strong adversaries for this movie. Sonny was basically a slick capitalist who wanted to use Hank's technology to bolster his bank account. And his story arc was comedic at best. Although Ava provided plenty of strum and drang in the plot - including her threat to kidnap Cassie Lang and use her to convince Scott to hand over Hank's portable lab. But Ava's goal was fueled by anger at Hank for what happened to her father, and a desperate desire to use his quantum technology. By the end of the film, it took Janet to help stabilize her condition. Although I found both characters interesting, neither was another Darren Cross aka Yellowjacket, who had proven to be a more interesting and dangerous character to me. 

I certainly had no problems with the film's performances. Abby Ryder Fortson, Judy Greer and Bobby Cannavale gave solid performances as Scott's daughter Cassie Lang, his ex-wife Maggie Paxton and the latter's second husband, police officer Jim Paxton. Randall Park gave a funny and sly performance as F.B.I. Special Agent Jimmy Woo (who was a former S.H.I.E.L.D. agent), who happened to be Scott's parole officer. Laurence Fishburne proved to be both humorous and enduring as Dr. Bill Foster, Hank's former partner who became Ava's guardian following the deaths of her parents. Both Tip "T.I." Harris and David Dastmalchian were hilarious as Scott's friends and co-owners of the X-Con Security firm, Dave and Kurt. Once again, Michael Peña proved to be a comedic dream as Scott's closest friend, Luis, who proved to be the brainchild of X-Con Security. Harris, Dastmalchian and especially Peña were breathtakingly funny in one scene in which Luis found himself being interrogated by Sonny Burch after being injected with truth serum. That has to be, without a doubt, the funniest scene in any MCU movie I have ever watched.

Michelle Pfieffer was only seen in the film's pre-credit and post-credit scenes, along with at least fifteen minutes of the main narrative. And yet, being the first-rate actress that she is, managed to provide a very poignant performance as the missing Dr. Janet van Dyne aka the former Wasp. Due to the comedic elements of his character, Sonny Burch did not strike me as a particularly memorable villain. But I cannot deny that I found the character very entertaining, thanks to Walton Goggins' smooth and insidious performance that seemed to be punctuated with a good deal of sharp comedy. I have only seen Hannah John-Kamen in at least two other films - "TOMB RAIDER" and "READY PLAYER ONE". While I found her appearance in the latest Lara Croft film rather brief and unmemorable, I was very impressed by her intense performance as one of the villains in "READY PLAYER ONE". In "ANT-MAN & THE WASP", John-Kamen skillfully added a lace of desperation to her intense performance as Ava Starr who frantically tries to get her hands on Hank's quantum lab in order to save her life. 

After viewing "ANT-MAN & THE WASP", I think I was more impressed with Michael Douglas' portrayal of Dr. Hank Pym aka the former Ant-Man than I was in the 2015 film. This movie revealed just how emotionally volatile and annoying Hank Pym could be. Douglas did a superb job in exploring Hank's not-so-pleasant personality and at the same time, managed to make him still likable. Evangeline Lilly's portrayal of the film's leading lady Hope van Dyne aka the Wasp struck me as more relaxed in this film than in it was back in 2015. That is understandable, considering that Hope seemed to be in a better place emotionally in her relationship with her father and as the new Wasp. I also happily noticed that Lilly managed to give a more witty, relaxed and elegant performance. I also found her rather funny, thanks to scenes that featured her scenes with Scott at Cassie's school and Luis' drug-enhanced flashbacks during his interrogation by Burch. Paul Rudd was equally funny as the movie's leading man, Scott Lang aka Ant-Man. Rudd brought his usual charm and comic timing to the fore throughout the movie. But he also proved what a truly first-rate actor he can be - especially in one scene in which Janet's spirit took control of his body. He did an excellent job in recapturing Pfieffer's mannerisms and diction without being heavy-handed or obvious.

Overall, I enjoyed "ANT-MAN & THE WASP" very much. My only problems with the film was that it could have used a stronger villain and screenwriters used the Sokovia Accords as part of its narrative, when it was unnecessary. However, "ANT-MAN & THE WASP" featured some great direction by Peyton Reed, excellent performances by a cast led by Paul Rudd and Evangeline Lilly, a first-rate family comedy-drama and a very memorable and poignant post-credit scene.



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Thursday, October 25, 2018

"ANT-MAN AND THE WASP" (2018) Photo Gallery



Below are images from "ANT-MAN AND THE WASP", the 2018 sequel to the 2015 Marvel Cinematic Universe (MCU) movie, "ANT-MAN". Directed by Peyton Reed, the movie stars Paul Rudd and Evangeline Lilly as Scott Lang aka Ant-Man and Hope Van Dyne aka the Wasp: 



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Wednesday, April 4, 2018

"MURDER ON THE ORIENT EXPRESS" (2017) Review

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"MURDER ON THE ORIENT EXPRESS" (2017) Review

When news of Twentieth Century Fox releasing its own version of Agatha Christie's 1934 novel, "Murder on the Orient Express", many people groaned. In a way, I could understand their reaction. This new movie would mark the fifth adaptation of the novel - the second theatrical version. However, being a major fan of Christie's story about a murder aboard the famed trans-European train, I was among those who did not groan. 

Directed by Kenneth Branaugh, who also starred as Belgian detective Hercule Poirot, "MURDER ON THE ORIENT EXPRESS" begins in Jerusalem 1934, where Poirot has been asked to solve the theft of a valuable artifact from the Church of the Holy Sepulchre. After achieving his goal, Poirot boards a boat that conveys him to Istanbul in Turkey. Among his fellow passengers is a British governess named Mary Debenham and a Afro-British former-Army soldier-turned-physician named Dr. John Abuthnot. Poirot plans to remain in Istanbul for a few days of rest. But he receives a telegram, summoning him to London to solve another case. Monsieur Bouc, a young friend of his who happens to serve as a director of the Compagnie Internationale des Wagons-Lits, manages to acquire a berth in one of the second-class compartments in the Calais coach of the Orient Express.

Both Poirot and Bouc are surprised to discover that the Calais coach is unusually full for the winter season. A day following the train's departure from Istanbul, one of the passengers - an American "businessman" named Samuel Rachett - informs Poirot that he had received death threats and wants to hire the Belgian detective to serve as his bodyguard. Due to his instinctive dislike of Rachett, Poirot refuses the offer. During the second night of the train's journey, the Orient Express becomes stranded somewhere between Vinkovci and Brod, thanks to an avalanche. The following morning, Rachett's dead body is discovered with a dozen stab wounds. Bouc asks Poirot to discover the killer's identity. Since each train car was locked at night, Poirot has focused his suspicions on those who were inside the Calais coach:

*Mary Debenham
*Dr. John Abuthnot
*Hector McQueen, Rachett's secretary
*Edward Masterman, Rachett's English valet
*Mrs. Caroline Hubbard, a middle-aged American tourist
*Pilar Estravados, a Spanish-born missionary
*Princess Dragomiroff, an exiled Russian princess
*Hildegarde Schmidt, Princess Dragomiroff's German maid
*Biniamino Marquez, a Spanish-born automobile salesman
*Count Rudolph Andrenyi, a Hungarian aristocrat/acclaimed dancer
*Countess Helena Andrenyi, Count Andrenyi's German-born wife
*Gerhard Hardman, a German scholar
*Pierre Michel, the Calais coach's car attendant


Not long after he begins his investigation, Poirot discovers Rachett's true identity - a gangster named Lanfranco Cassetti, who had kidnapped a three year-old heiress named Daisy Armstrong two years earlier. After Daisy's parents had paid the ransom, Cassetti killed young Daisy and fled the United States. It becomes up to Poirot to discover which Calais coach passengers have connections to the Armstrong kidnapping case and find the killer. 

What can I say about this adaptation of Christie's 1934 novel? Of the five versions of "Murder on the Orient Express", I have only seen four. But I am not here to discuss the other three versions I have seen . . . only this new adaptation. 

"MURDER ON THE ORIENT EXPRESS" was not a perfect movie. Well to be honest, I have yet to see a perfect adaptation of Christie's novel. But there were a few aspects of this film that I did not like. Most of those aspects had a lot to do with camera shots. I did not like how Branaugh had allowed his passengers to board through the dining car at the end of the train. Honestly? I did not care for that tracking shot of Poirot making his way through the train . . . with the camera focused on him through the windows. I found it rather distracting and slightly confusing. Nor did I care for how Branaugh and cinematographer Haris Zambarloukos shot the scene featuring the discovery of Rachett's body. From the moment when the victim's valet discovered the body to Dr. Abuthnot examined it and conveyed his prognosis, Branaugh and Zambarloukos did the entire scene from a high angle shot from above in which I could barely, if at all, see the victim's body. I found it very frustrating to watch. And rather unnecessary. I have one last complaint and it concerned a character. Namely . . . Count Rudolph Andrenyi. In Christie's novel, Count Andrenyi was described as a hot-blooded Hungarian and a diplomat. In "MURDER ON THE ORIENT EXPRESS", the Count remained a hot-blooded Hungarian. But for some reason, Branaugh and screenwriter Michael Green had decided to change his profession from a diplomat to a professional dancer. Why? Other than showing Count Andrenyi in a fight with two men at the Sirkeci train station, I saw no earthly reason to change the character's profession. Worse, while being questioned by Poirot, the latter brought up the matter of a diplomatic passport. Why would Poirot bring up this matter to a man who was a professional dancer?

Thankfully, I managed to enjoy "MURDER ON THE ORIENT EXPRESS" a great deal, despite its flaws. Thanks to Branaugh and a first-rate crew, the movie radiated a sharp rich elegance that struck me as different as the previous adaptations. And I have to give credit to cinematographer Zambarloukos for this look. There were others who had contributed to the film's look and style. I especially have to commend production designer Jim Clay for his re-creation of the Orient Express - along with the help of the art direction team led by Dominic Masters and set decorator Rebecca Alleway:

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I doubt that the film's re-creation of the famous luxury train at Longcross Studios was completely accurate. But I must admit that I was more than impressed by how people like Clay, Masters and Alleway still managed to re-create the style and ambiance of the famous train. My admiration for their work at Longcross also extends to their re-creation of the famous Sirkeci railway station. I found it rich in detail and atmosphere . . . and if I must be honest, slightly mind blowing:

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I suspect that none of crewmen who worked on "MURDER ON THE ORIENT EXPRESS" will receive any recognition from the Academy of Motion Picture Arts and Sciences for their work. Pity. As for Patrick Doyle's score, I must be honest and admit that I did not find it particularly memorable. In fact, I found Doyle's occasional use of 1930s tunes more memorable than his original work.

How did I feel about Branaugh and screenwriter Michael Green's treatment of Christie's novel? Aside from my nitpick about the Count Rudolph Andrenyi character, I had no problems with it. Yes, I realize that both Branaugh and Green had made some changes to Christie's story. But you know what? So did the other versions I have seen. And there were no real changes to the plot, aside from allowing the Daisy Armstrong kidnapping to occur two years previously, instead of more. Most of the changes were made to some of the characters, instead of the plot. For instance:

*Although Hector McQueen had remained Rachett's secretary, he was discovered to be embezzling from the latter.
*John Abuthnot is portrayed as an Afro-British doctor, who is also a former Army sniper, instead of a British Army colonel stationed in India
*Swedish-born missionary Greta Ohlsson becomes the Spanish-born missionary Pilar Estravados, whose name was borrowed from Christie's 1938 novel, "Hercule Poirot's Christmas"
*Italian-born car salesman Antonio Foscarelli becomes the Spanish-born salesman Biniamino Marquez
*Monsieur Bouc is portrayed as a much younger man, who profession is dependent upon family connections


As one can see, the changes in characterizations is based upon changes in ethnicity and nationality. Hell, I had more of a problem with the changes made by the Count Andrenyi character than I did with the above changes. And if I must be honest, I found the changes made to the John Abuthnot character rather impressive and interesting. Despite these changes, he remained intensely in love with Mary Debenham and protective of her. Another change I noticed is that Branaugh and Green had allowed Poirot to question the suspects in different parts of either the Calais coach, the dining car, the Pullman lounge car and various spots outside of the stranded train. I must admit that I found this variation in minor locations around the train rather refreshing. Watching Poirot question most of the suspects (with the exception of Princess Dragonmiroff and Hildegarde Schmidt) inside the Pullman coach had struck me as a bit repetitive in the 1974 and 2010 versions.

I would not be surprised if certain Christie fans and film critics had accused Branaugh of political correctness. Not only did the screenplay pointed out Dr. Abuthnot's race via characters like Gerhard Hardman, but also Biniamino Marquez's ethnicity via Hector McQueen. Considering that the movie is set in 1934, I did not mind. More importantly, it would have been odd if someone had not commented on Dr. Abuthnot's race or Senor Marquez's nationality. In fact, in Christie's original novel, some characters made a big deal over the nationalities of the other suspects. 

The important thing is that despite these changes, Michael Green's screenplay more or less adhered to Christie's novel. And he did so with style and a good deal of pathos in the film's last half hour that I found more than satisfying. I was especially surprised by how the film treated Poirot's character in the end. In the novel and previous adaptations, Poirot had remained on the train after solving the murder. Not in this adaptation. After exposing the crime and reporting his findings to the police in Brod, Poirot left the train. And I was thrilled. As I have stated numerous times, if I had been Poirot, I would have left that train myself.

I must admit that I had experienced a few qualms when I learned that Kenneth Branaugh had cast himself as the Belgian detective, Hercule Poirot. The large moustache he had utilized for his performance did not comfort me, until I realized that it matched the description of the literary Poirot's moustache. I have stated in the past that I believe that British actors with a Continental background - like Peter Ustinov, Alfred Molina and David Suchet - tend to give more believable portrayals of Poirot than English speaking actors. Branaugh ended up proving me wrong. He gave a very charming and energetic performance as Poirot, without wallowing in the occasional moments of hammy acting. I also enjoyed how he portrayed Poirot's development in the story from a charming and intelligent man seeking a little peace before his next case to the slightly outraged man who found himself conflicted over how to handle the consequences of Rachett's murder.

There were other performances that I found very interesting. One came from Johnny Depp, who gave an effectively slimy portrayal of the former kidnapper-turned-murder victim. His performance really impressed me, especially in one particular scene in which Rachett requested Poirot's services as a bodyguard. Depp displayed his versatility as an actor by conveying his character's attempt at friendliness and a sinister form of intimidation. I also appreciated Michelle Pfieffer's portrayal of the extroverted Caroline Hubbard, which I found both humorous and sexy. And yet, Pfieffer's finest moment came near the film's end, when Poirot exposed her character's deep secret. She gave a very emotional and effective performance. Leslie Odom Jr. and Daisy Ridley portrayed the two suspects that Poirot had first encountered - namely Dr. John Abuthnot and Mary Debenham. It is interesting that the literary versions of this pair proved to be more hostile (and bigoted) toward Poirot than the other passengers. In this version, both are more friendlier toward Poirot, yet both maintained a subtle wariness toward his presence. I also enjoyed how Odom and Ridley managed to convey more complexity into their performances, when confronted with their lies by Poirot and their willingness to fiercely protect each other. 

I never thought I would say this, but I thought Josh Gad gave the most complex performance as Rachett's secretary, Hector McQueen I have ever seen on screen. Thanks to Gad's first-rate performance, his McQueen literally oozed with moral ambiguity - especially in the film's second half. Another interesting performance came from Derek Jacobi, who portrayed Rachett's English valet, Edward Masterman. I was particularly impressed at how Jacobi conveyed his character's nervousness in being caught in a slip of character by Poirot. And there was Penelope Cruz's performance as the Spanish missionary, Pilar Estravados. Cruz's portrayal of the missionary was a far cry from the literary character by portraying her not only as intensely religious, but also intense and slightly intimidating. I found her performance very interesting. Judi Dench gave a very imperious and entertaining performance as the elderly Princess Dragonmiroff. The movie also featured first-rate performances from the rest of the cast that included Olivia Colman, Tom Bateman, Manuel Garcia-Rulfo, Willem Dafoe, Marwan Kenzari, Lucy Boynton and yes, Sergei Polunin. I may not have liked the change made to the Count Andrenyi character, but I cannot deny that Poluin gave an effective performance.

I recently learned that 20th Century Fox given approval for a sequel to "MURDER ON THE ORIENT EXPRESS". It may not have been a major box office hit, but it was financially successful. Personally, I am glad. I really enjoyed this new take on Christie's 1934 novel. And I was not only impressed by the cast's excellent performances in this film, but also by Kenneth Branaugh's direction and his superb portrayal of the Belgian detective, Hercule Poirot. If a sequel is being planned, I cannot wait to see him reprise his portrayal of the famous literary sleuth.

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Sunday, February 25, 2018

"MURDER ON THE ORIENT EXPRESS" (2017) Photo Gallery

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Below are images from "MURDER ON THE ORIENT EXPRESS", the 2017 adaptation of Agatha Christie's 1934 novel. Kenneth Branaugh directed and starred as Hercule Poirot: 


"MURDER ON THE ORIENT EXPRESS" (2017) Photo Gallery

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