Read More:The Criterion Collection Announces January 2018 Titles, Including ‘The Breakfast Club’ and ‘I, Daniel Blake’
Criterion will release a new 4K digital restoration of “The Silence of the Lambs,” which has been approved by the movie’s cinematographer Tak Fujimoto. Included on the DVD and Blu-ray sets are 35 minutes of deleted scenes and audio commentary from 1994 featuring Demme, Jodie Foster, Anthony Hopkins, screenwriter Ted Tally, and former FBI agent John Douglas. “Night of the Living Dead” will also be released in 4K, with never-before-seen 16mm dailies included as a bonus feature.
Murder On The Orient Express, Kenneth Branagh’s new film adaptation of the classic Agatha Christie mystery, offers a certain amount of lavish period style and mystery fun but does not measure up to the 1974 version, directed by Sidney Lumet and featuring an all-star cast. Branagh’s film also has a star-packed cast and Branagh, who plays detective Hercule Poirot as well as directs, sports an astonishing two-stage mustache that might be worth the ticket price alone.
Based on the famous Agatha Christie mystery featuring her Belgian detective, Hercule Poirot, the 1974 film version had an all-star cast with Albert Finney, Lauren Bacall, Martin Balsam,
Ingrid Bergman, Jacqueline Bisset, Sean Connery, John Gielgud, Wendy Hiller, Anthony Perkins,
The third Thor movie should take in at least $50 million at 4,080 locations in its second weekend. The Disney-Marvel tentpole opened with $122.7 million last weekend in the fourth-biggest launch of 2017, then added $8.2 million Monday and $10.8 million on Tuesday.
Both new entries are pegged to launch moderately in the $25 million range, with estimates on each ranging as low as $19 million for “Orient Express” and as high as $32 million for “Daddy’s Home 2.” Combined, “Murder on the Orient Express” and “Daddy’s Home 2” should equal about what “Thor: Ragnarok” will gross.
“Murder” is opening on 3,350 screens, with reviews that have trended fairly positively with a 63% Rotten Tomatoes score. Kenneth Branagh directed and stars as Hercule Poirot in the adaptation of Agatha Christie’s mystery with a star-laden cast including
Murder on the Orient Express opens in 1934 at the Wailing Wall in Jerusalem. Belgian super sleuth Hercule Poirot once again awes with his legendary investigative skill. Refined, exacting, and over-worked, Poirot is desperate for a sabbatical. His quest for respite is delivered by a philandering old friend, Bouc (Tom Bateman). Return to London in sumptuous luxury via train on the Orient Express. Bouc's uncle has put him in charge of the railway.
Director Kenneth Branagh and production designer Jim Clay explain to People Deputy Editor J.D. Heyman in a People TV special how they recreated the iconic 1920s luxury train, built a colossal train station and reimagined Agatha Christie’s world-famous murder mystery.
Watch the full episode of On Location with Jd Heyman: Murder on the Orient Express now on PeopleTV. Go to PeopleTV.com, or download the PeopleTV app on your favorite mobile or connected TV device.
Sitting in front of
Murder On The Orient Express (1974)
Director: Sidney Lumet
Screenplay: Paul Dehn based on the novel by Agatha Christie (uncredited)
Strangely, the detective story is actually a fairly newer genre when compared to others, in terms of literary history, it is, and the inventor of the genre is not who you’d think it’d be either, it was Edgar Allen Poe, with his trilogy of C. Auguste Dupin stories, ‘The Murder of the Rue Morgue‘, ‘The Mystery of Marie Roget,’ and my favorite, ‘The Purloined Letter‘ back in the 1840s. I’m not sure why this genre didn’t pick up until then,
I’m “biast” (con): saw no need for another production
I can’t recall if I’ve read the source material (I might have as a teenager in my classic-mystery phase, but if so, clearly it didn’t stick)
(what is this about? see my critic’s minifesto)
Here’s the biggest mystery of director and star Kenneth Branagh’s opulent period mounting of the 1934 Agatha Christie novel: Why? Who was clamoring for yet another retelling of a story that has been told onscreen — both the big and small screens — several times already, and as recently as 2010 in the beloved television series starring David Suchet as Hercule Poirot? Why bother to tell this story
The word “sheer” is missing from the beginning of the title. Like a dusty and long-locked display room in Madame Tussauds, this movie showcases an all-star cast in period costume, each of whom must suppress his or her star quality in the cause of being part of an all-star cast. It is a new version of Agatha Christie’s 1934 detective mystery, one of her most ingenious, all about a grisly killing on board a train that is marooned in snow. The story arguably has something to say about the nature of guilt and the nature of authorship. Kenneth Branagh directs and plays the legendary Belgian sleuth Hercule Poirot with an unfeasibly large ’tache, accessorised with a demi-goatee beneath the lower lip and a pepper-and-salt colouring overall, like the
In an exclusive clip from Branagh’s upcoming whodunnit mystery based on Agatha Christie’s classic novel, Poirot’s unique facial hair is a dead giveaway for Daisy Ridley’s Mary Debenham, who introduces herself to the famous Belgian detective while sitting next to him on a dock.
“I know you’re mustache from the papers!” Debenham says with a smile. While she gets his name wrong (confusing Hercule for Hercules), Ridley’s character says,
Phrases such as "classy production" and "entertaining adaptation" were used to describe the Sidney Lumet-directed film. (On Nov. 2, Fox's version of Express, which Kenneth Branagh both stars in as Poirot and directs, premieres at London's Royal Albert Hall.)
THR was more enthused when the $1.4...
Satisfying as it is to see a late-career Plummer tackle the iconic role, the subject of this particular film remains Scrooge’s creator, who may have had more in common with the old miser than audiences realize. The year was 1843, by which time Dickens (played here by “Downton Abbey” star Dan Stevens) had already tasted success, only to lose his publishers’ confidence after a series of “flops” (although
Cohen Media Group
2017 / Color / 2:39 widescreen / 105 min. / Street Date October 3, 2017 / 30.99
Starring: Brian Cox, Miranda Richardson, John Slattery, Ella Purnell, Julian Wadham, Richard Durden, James Purefoy.
Cinematography: David Higgs
Film Editor: Chris Gill
Original Music: Lorne Balfe
Written by Alex von Tunzelmann
Produced by Claudia Bluemhuber, Nick Taussig, Piers Tempest, Paul Van Carter
Directed by Jonathan Teplitzky
No, it isn’t Gary Oldman as Winston Churchill … that’s another movie, Darkest Hour. This is the Brian Cox Churchill movie.
That's understandable; it's not a film primed to appeal to the fandom that it seems like it should have. Donen in the director's seat and Hepburn as the top-billed lead both suggest certain kinds of films, if not necessarily the same kind of film: bubbly comedies in his case, elegant Continental romances in hers (splitting the difference, four years earlier they collaborated on Charade, a bubbly Continental comedy). Two for the Road isn't devoid of humor,
The Big Little Lies cast were first presenters setting the tone for a night devoted to them essentially
8:00 Stephen Colbert managed to work lots of political commentary and Trump jabs into his opening song which hits peak jab with the "even treason's better on TV" lyric with the stars of The Americans giving brief cameo. The also Trump centric post-song monologue is good and the stars are eating it up.
8:16 Colbert actually saves the best joke for last with a surprise cameo by Sean Spicer (yes, actually Sean Spicer with his stand) who he introduces as Melissa McCarthy. Even McCarthy is shook.
8:18 Nice touch to have an ensemble as joyfully in synch as Big Little Lies do a supporting category. Lithgow wins for playing Churchill. That also worked for Albert Finney 15 years ago. Oldman is also going to win the Oscar playing Churchill later this year.
(Re)Define the motion picture
Bailey is a realist as much as a cineaste. At Telluride, he appreciated Paul Schrader’s well-reviewed “First Reformed” — but fully supported the possibility that the film would go to Netflix. “It’s very unlikely the studios would pick it up,” said Bailey. “In reality, Netflix and Amazon have now become the studios that have the courage to make the film nobody else would make.”
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