But, alas, the only fully fleshed-out being turns out to be Poirot, who moons over a portrait of a lost love and undergoes an existential crisis of sorts when he finds himself unexpectedly confounded when a dead body turns up on the train with an even dozen stab wounds. Those marquee credits are bound to draw in the under-30 demographic. (Aaron Burr in Broadway’s “Hamilton”) as a doctor who attempt to disguise they are an interracial couple. That sends the message, “Hey, this could be fun.”īut matters get perfunctory rather quickly when fellow passengers whose baggage clearly includes secrets begin to pop up, including Daisy Ridley (Rey in “Star Wars: The Force Awakens”) as a porcelain-skinned governess and Leslie Odom Jr. With the showbiz panache of a Vegas magician, he reveals the perpetrator with an unexpected flourish involving a cane. Poirot is at the Wailing Wall about to deliver the solution to a crime tied to three clerics of different faiths and a stolen artifact. The place is Jerusalem (actually, Malta as a stand-in) and the year is 1934. He is a control freak who insists on balance in everything, from how a tie sits around a man’s neck to impeccably baked bread. The script by Michael Green (“ Blade Runner 2049”) does a bang-up job of introducing us to Poirot, a fuss-budget stickler who demands perfectly cooked four-minute eggs and tsk-tsks their imperfect dimensions-and then doesn’t even bother to eat them.
#Murder movie Patch#
Best supporting player? That honor goes to that dashing splash of a soul patch on his chin. Boring, right? Branagh’s fuzzy wuzzy is like an ocean wave of whiskers, from ear to shining ear.
#Murder movie movie#
In the 1974 movie adaptation helmed by Sidney Lumet, Albert Finney sported a pert black swatch with Dali-esque twirls at the ends. If Branagh, the star and director behind the 21st-century digitally-enhanced stab at bringing this ensemble vehicle back to life wanted to make a statement to distinguish this take on his world-famous Belgian detective Hercule Poirot from any other, he certainly has. It's even responsible for the film’s best sight gag. Regardless, Lalbagh might offer an engaging story experience to those who understand both Malayalam and Kannada well.The hair apparent seems specifically designed to practically steal every scene it appears in during this sumptuous yet ultimately stuffy and overstuffed big-screen return visit to Agatha Christie’s most durable novel. When those incomprehensible dialogues team up with mediocre acting of quite a few cast members, the movie often gets reduced to an average affair that can be tiresome to watch.
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Viewers have to wait for hints falling out of occasional English dialogues or familiar words, to piece together some sense out of the proceedings.
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However, in the crucial first half of the film during which the police investigation unfolds, a good portion of the key explanations and doctor – police exchanges regarding the case are in Kannada! Yes, the story is set in Bengaluru, but in those sequences, which run without any subtitle, it looks like the makers forgot that this is a Malayalam film, after all.
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It also has a curious blend of family drama and police investigation, that raises engaging questions on who can be trusted, who is bluffing, and the like. There is a decent story build-up presented through beautiful frames of Bengaluru city. The movie has some palpable human conflict, plot twists and turns that can keep the audience interested just enough. They are a regular couple, but the investigation peels one layer after the other into their connection and personalities. In director Prashanth Murali Padmanabhan’s Mamtha Mohandas-starrer Lalbagh, Sara (Mamtha) and Tom’s (Sijoy Varghese) marriage is central to the story that tries to find the answer to a murder mystery. Review: A man is dead and he is presumed killed, and in the process of chasing the murderer, his marriage undergoes autopsy. Story: Sara’s husband Tom gets food-poisoned after a birthday party, and police suspect it was a deliberate attempt to murder him.