Kenneth Branagh's all-star remake is watchable but unnecessary
In Murder on the Orient Express, when Edward Ratchett meets Hercule Poirot for the first time, he offers to be his bodyguard. Ratchett, an art dealer with dubious credentials, wants Poriot to protect him from some anonymous threats he has been receiving of late. It is a lucrative offer but Poirot flatly refuses. It is meant to be a holiday and the job isn’t interesting enough. More importantly, he doesn’t like the guy. In his attempt to persuade Poirot to accept his offer and show him the extent of the seriousness of the threats, Ratchett takes out a gun from the inner pocket of his coat. But is he also, in a way, threatening Poirot? In Sidney Lumet’s film from 1974, this is implied; Poirot senses something by instinct, but he keeps it to himself. In the new film, Kenneth Branagh’s Poirot snaps at Johnny Depp’s Ratchett with something like, “Are you pointing that gun toward me?" It’s telling when a murder mystery spells out too much.