Jim Cummings is a triple threat, a writer/director who also stars in the atmospheric Orion Classics release The Wolf of Snow Hollow. You may recognize Cummings as the brave Deputy Pete McCabe, who pursued Michael Myers in Halloween Kills, but he’s also a jack of all trades, making movies from the ground up as cinematographer and editor and even working on visual effects for Captain America: Winter Soldier. In The Wolf of Snow Hollow he plays Officer John Marshall, No. 2 in line to the sheriff in a small northern town in the vein of Resident Alien, Fargo, or Northern Exposure. Marshall is a recovering alcoholic in a 12-step program, who is the ultimate put-upon working stiff with anger issues, dealing with divorce, a visiting daughter, and incompetent peers when a string of brutal murders plagues his otherwise banal town. And the murders appear to have been carried out by a werewolf. It’s a surprisingly good, tightly edited drama with elements of dark comedy, a smartly paced Alfred Hitchcock-type thriller filled with quirky locals, combined with a musical score as compelling as something from a Bernard Herrmann classic.
How can a movie only make $25,000 at the box office and be this good? It must be poor marketing–the movie poster calls it darkly comical, and there’s no humor intended in Albert Shin’s semi-autobiographical directorial debut, the brilliant mystery/suspense/thriller Disappearance at Clifton Hill. A 2019 Canadian release that premiered in the U.S. in 2020, this is the kind of simmering mystery in the vein of Gone Girl and The Girl on the Train, with a genre-bending vibe that blends You Should Have Left, I Am the Pretty Thing that Lives in the House, The Sinner,Picnic at Hanging Rock, and Archive 81–and yet it’s unlike any of them. It stars Tuppence Middleton (The Current War, Jupiter Ascending, The Imitation Game, Mank) in a worthy–and similar–follow-up to her starring role in The Lady Vanishes.
Abby is only seven years old when she sees the boy with one eye, hiding while she vacations with her family in the woods not too far from her home in Niagara Falls.
One of the news items from this weekend’s San Diego Comic-Con was a push of completed Disney and Fox movies out several months to insure full movie theater returns for the studio, while pushing out the door in advance of a full audience return films like The New Mutants and Kenneth Branagh’s follow-up to his adaptation of Agatha Christie’s Murder on the Orient Express, Death on the Nile, now arriving October 23. Those of us excited for the next all-star Hercule Poirot adventure can be glad that at least means a home release sooner than later. In the meantime Amazon Prime has a brilliant BBC production of a classic mystery novel, previously adapted by Alfred Hitchcock, and adapted most recently in 2013, of The Lady Vanishes.
Like an episode of Monk or Murder She Wrote, the next film from writer/director Rian Johnson (Looper, Star Wars: The Last Jedi) is a straightforward mystery. Knives Out comes in on the heels of the similar looking Ready Or Not, and it’s a mash-up of sorts, aiming to have that ensemble cast variety of the last Thanksgiving movie release mystery, Murder on the Orient Express, while trying to bring back the nostalgia of the famous comedy whodunnit movie, Clue. It’s the 85th birthday of the family patriarch and the families of his three children arrive to celebrate. The next morning the patriarch is found dead. Arriving in theaters next week and marketed toward the Thanksgiving holiday crowd, Knives Outturns out to be a mixed bag.
The reason to check it out is as you’d expect: the cast. The cast choices would be a dream assemblage for any film. James Bond Daniel Craig facing off against Captain America Chris Evans? Legend Christopher Plummer delivering a performance as good as his last Oscar-winner? Jamie Lee Curtis, Michael Shannon, and Toni Collette playing against type? And top it off with Don Johnson, poised to have his own career second wind as a leading man. But the real star performance comes from Ana de Armas(Blade Runner 2049). de Armas, a ringer for a Tru Calling-era Eliza Dushku, plays a nurse to Christopher Plummer’s character. Incredibly charming and engaging, de Armas is also given the biggest opportunity to show the most emotional range in the film. A plus for Bond fans, this movie will serve as a preview of sorts for movie audiences of No Time to Die, as de Armas plays the next “Bond girl” opposite Daniel Craig’s master spy in theaters next spring.
Not a recommended movie for taking on a date, and ultimately a questionable choice for Thanksgiving, one of the conceits (which may take viewers outside the realm of reality) is a character who vomits with each lie. By the end of the film it becomes an in-your-face gross-out, making viewers watch one character… covered… for an entire scene. As a story element this “human lie detector” is also a writers’ crutch, a trick that skips over some story challenges viewers would normally be able to work through on their own.
Many have asked: Why make another Agatha Christie’s Murder on the Orient Express? You could just as easily ask: Why adapt another Shakespeare play? Or Why make another Sherlock Holmes series? When your story is great, and becomes as classic as Agatha Christie’s famous, timeless 1934 novel, it’s sort of the point of cinema, isn’t it? From an actor standpoint, being in one of the film versions of Murder on the Orient Express, and portraying such iconic roles, is something like being cast as King Lear. And who better than Kenneth Branagh to inject his own vision of the story into a new snapshot of acting greats for a new era of audience members? Of Branagh’s twenty directorial pursuits, you must go back to the early era of Dead Again and Peter’s Friends to find Branagh not serving as puppetmaster of someone else’s well-known world, whether it’s Shakespeare in Henry V, Much Ado About Nothing, Hamlet (and the list goes on), or adaptations of Mary Shelley’s Frankenstein, Marvel Comics’ Thor, Mozart’s The Magic Flute, Tom Clancy’s Jack Ryan, Branagh is the king of directing adaptations and remakes. Add Murder on the Orient Express to that list, a faithful adaptation of the book, stylishly filmed with lavish, sweeping sets and landscapes courtesy of cinematographer Haris Zambarloukos, Branagh’s choice cameraman on four of his past films.
The year’s casting award goes to Lucy Bevan for bring filmgoers back to the age of the all-star cast, where you’d look to 1970s disaster movies (Airport ’76, Towering Inferno, Earthquake) or the odd comedy (think It’s a Mad, Mad, Mad, Mad, Mad World) for a pantheon of stars like that found in Orient Express. Branagh as Hercule Poirot sports that classic era moustache with confidence (Christie herself called Poirot’s moustache “magnificent” and “immense”) and he adds his own quirks and humor to Christie’s legendary greatest detective, providing a new twist on the Holmes/Monk/House, M.D. frustrated genius detective archetype. So many of the cast members appear every bit like Golden Age film stars here, including Branagh, Johnny Depp, Michelle Pfeiffer, Josh Gad, Daisy Ridley, Willem Dafoe, Judi Dench, Penélope Cruz, Derek Jacobi, and Leslie Odom, Jr., with a particularly engaging performance by Tom Bateman as Poirot’s friend Bouc, in what will no doubt be seen as a great breakout role for the actor.
The film will be best for those unfamiliar with the story. A famous detective receives a message requiring him to squeeze onto a full train at the last minute with a little more than a dozen passengers aboard. When one passenger who fears for his life and requests assistance from the detective winds up dead in a brutal, bloody murder, the whodunit begins. Once a snowy avalanche blocks the path of the train, the game is afoot as the delay provides enough time for Detective Poirot to begin interviewing the passengers. The mystery is laid out with several clues, including just enough to allow the viewer to figure out who killed the victim if he/she is paying close attention. And Branagh stages the investigation like a game of Clue/Cluedo–including overhead angles that at times make the viewer feel like Murder on the Orient Express is indeed a virtual reality version of the board game. We know the murder weapons and the location, but who is responsible for the death and why?
