During World War II, When the Japanese were fighting in the Philippines, they buried a stash of gold. They decided to abandon the traditional "treasure map", deciding instead to engrave ... See full summary »
Agatha Christie's classic whodunit speeds into the twenty-first century. World-famous sleuth Hercule Poirot has just finished a case in Istanbul and is returning home to London onboard the luxurious Orient Express. But, the train comes to a sudden halt when a rock slide blocks the tracks ahead. And all the thrills of riding the famous train come to a halt when a man discovered dead in his compartment, stabbed nine times. The train is stranded. No one has gotten on or gotten off. That can only mean one thing: the killer is onboard, and it is up to Hercule Poirot to find him. Written by
The diesel locomotive hauling the Orient Express out of Istanbul has the prominent markings of EWS: the English, Welsh & Scottish freight train operating company. See more »
Oh, forgive me. My mind was temporarily elsewhere.
It's a woman, isn't it?
We are such opposites, Vera and I. She's flamboyant and beautiful; I'm reserved and homely. She'a a thief; I'm a detective.
The only thing we have in common is the refusal to let the other rule our life... but I cannot stop her from ruling my thoughts.
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This is a made for TV movie. Made for TV movies rarely match up to made for cinema movies. But yes, see it - if you've seen the Lumet original that is. It's better than nothing and the story is of course great.
About the story: actually it's better if you see the Lumet version first (and even read the book) because it's an amazing story and because you'll find the screenwriters for this version have done the unforgivable again.
The acting's OK, the direction is basically OK too (although there are some scenes that just die) but above and beyond anything else it's the screenplay which sends this one to the skip.
Why do these people take a winning formula and think they can make a classic like this better? The original had poetry. There was symmetry and symbolism which gave the audience warmth. This insensitive screenwriter seems to not have understood the small masterpiece he was commissioned to update.
For that matter, why remake it at all? Dare we speculate? Someone's nephew wanted a chance at screen writing? Someone with clout in a studio decided to back this one?
It's not all negative. There are good moments too. And unlike others here, we thought Molina was good.
But you don't go corrupting a winning formula. See it - but only after you've seen the Lumet original (and preferably read the book). Only then will any enjoyment be guaranteed.
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