Johnny Depp

Death on the Nile

12/02/22

Cineworld, Edinburgh

Kenneth Branagh earned himself a lot of brownie points for the sublime Belfast, but quickly squanders most of them in this, his second Agatha Christie adaptation. While it’s a definite improvement on his previous attempt, Murder on the Orient Express (which suffered from a bad case of too many actors in cameo roles), it still struggles to escape from the suffocating confines of the genre.

Mind you, it opens with a totally unexpected sequence set in the First World War, where we meet a digitally de-aged Poirot as a solider in the trenches, already flexing his powers of deduction. And then we are offered an origin story for that famous moustache. Interesting…

But all too soon, the action has moved on to 1937 and more familiar territory. Poirot is in a nightclub, fussing over some desserts, listening to blues singer Salome Otterburn (Sophie Okonedo) and watching as a certain Simon Doyle indulges in some rather dirty dancing with his fiancée, Jacqueline de Belfort (Emma McKey). The fact that Doyle is played by the recently disgraced Armie Hammer is, um, awkward, to say the least (and when I reflect that the previous film had a pivotal role for Johnny Depp, it makes me wonder is there isn’t some kind of ‘Curse of the Christies’ going on here).

Anyway, six weeks later, Doyle is climbing aboard a cruise ship in Egypt with his new bride… Linnet Ridgeway (Gal Gadot). Things get even more uncomfortable when Jacqueline arrives and spends her time glaring balefully at the newly weds over the lobster and fizzy wine. Honestly, if looks could kill!

Okay, this is Christie territory, so it’s a hardly a spoiler to say that somebody winds up murdered, which puts a proper crimp on the festivities. The perpetrator could be any of the passengers, all of them played by well know faces: Annette Bening, Dawn French, Jennifer Saunders, Russell Brand, Letitia Wright. Place your bets, folks – unless, like me, you saw the 1978 version or have read the book, and already know whodunnit.

Which, I must confess, spoils it somewhat.

It’s all handsomely done and this time around there’s enough focus on the various players to make it feel that they’re more than just cardboard cutouts. Egypt is lovingly recreated in CGI and the shameful opulence of the era is shown in unflinching detail. Here is an age where somebody can throw the contents of a champagne glass into the Nile and declare ‘there’s plenty more where that came from’ while starving people watch in silence from the river bank.

Okay, it was a different time, but at the end of the day, this feels hopelessly antiquated and badly in need of updating. Diehard Christie fans will doubtless tell themselves that Branagh has done his subject proud, and yes, perhaps he has – but I for one will be in no great hurry to see another Poirot movie. Unless, that is, it can offer something more unexpected than an origin story for some facial hair.

3.4 stars

Philip Caveney

Murder on the Orient Express

Murder on the Orient Express (2017) Kenneth Branagh

03/11/17

Let’s face it, we know what we are going to get with this one. Agatha Christie’s story is a classic of its kind, and Poirot’s style of detection a thing of wide repute. The trailer makes it clear that this incarnation doesn’t stray far from the cosy murder-as-family-entertainment tradition, so we settle in for a glossy, star-studded slice of nostalgia; we know it won’t be challenging but we think it might be fun.

And it is fun, to a point. It’s handsomely done, with glorious vistas, and the opening scenes in Istanbul are wonderfully vibrant, teeming with life and energy. Kenneth Branagh is convincing as Poirot, as pedantic and idiosyncratic as Christie paints him in her books. And the unthinking decadence of the upper classes is beautifully clear, their sumptuous surroundings barely noted, the train’s luxury accepted and dismissed.

It’s a shame, then, that we never feel any sense of claustrophobia, even when the train breaks down, and everyone is trapped in the middle of nowhere, even when the sleazy Edward Ratchett (Johnny Depp) is murdered. I won’t give any spoilers here, just in case,  although I imagine most people know the plot; suffice it to say, I know there are reasons why the suspects’  reactions are not as we might initially expect, but still… No one really mixes; no one seems irritated with anyone else; they’re all so separate, as if they’re not in close proximity. It’s all plot and no character, despite the starry cast.

The starry cast is a problem too. They’re all magnificent, but I only know that from their other work, not from what they do here. There’s nothing for them to do. Michelle Pfeiffer, as Caroline Hubbard, is perhaps the luckiest; there’s some substance here, so she can milk her role. But to under-use actors as fine as Olivia Colman, Judi Dench, Daisy Ridley, Leslie Odom Jr., Penelope Cruz et al is criminal: these are all essentially cameos.

In the end, sadly, this is just a pointless remake of what is – sorry, Agatha fans – a silly story. It’s not awful – everything is bigger here, including Poirot’s moustache – it’s just not very good.

3 stars

Susan Singfield

Black Mass

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25/11/15

Time was, when Johnny Depp’s name attached to a movie could be interpreted as a guarantee of quality, but to be fair, it’s been a while since that maxim held true. A once keen ability to pick the right project has lately foundered amidst a welter of vanity puff-pieces. So it’s heartening to report that Black Mass is a major step in the right direction, with Depp submitting his best performance in a very long time.

Here, he’s depicting real life  villain James ‘Whitey’ Bulger, a career criminal who operated successfully around his home town of Boston over a period of thirty years, largely because his brother, Bobby, was a senator and his best friend, John Connolly,  an FBI agent. Bulger cannily formed an ‘alliance’ with Connolly, trading inside information on his rivals to ensure that he could operate his web of vice and murder with complete impunity.

Depp has worked hard to make himself look unattractive – complete with thinning hair, bad teeth and pale blue eyes, he’s hardly recognisable as his former self. Initial fears that this is simply going to be a ‘makeup led’ performance are soon quashed, as he submits a convincing turn as a repellent psychopath, a man who can skip from helping an old lady with her shopping, to shooting a man point blank in the face, without raising so much as an eyebrow.

There’s a lot of unflinching violence on show here, but its matched by a sharp script by Mark Mallouk and Jez Butterworth and there’s the added bonus of a supporting cast to die for – Joel Edgerton, Benedict Cumberbatch, Kevin Bacon, Peter Sargaard… Seriously, there’s enough talent on show here to fill several movies; but there’s no denying that this is Depp’s film and he has a field day with it.

Like many real life stories, if presented as a piece of fiction, this would seem unlikely. Stay in your seat for the closing credits which offer glimpses of the real protagonists and we’re finally able to fully appreciate the lengths to which director Scott Cooper has gone to ensure that his actors resemble the major players.

4.2 stars

Philip Caveney