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Win Badlands on Blu-ray


Preview by Jack Foley

To celebrate the release of Badlands – available on Blu-ray, DVD and Digital HD Dual Format from Warner Bros. Home Entertainment on March 19, 2018 – we are giving away a copy!

In 1959, Kit (Martin Sheen), who has killed several people, and his new girlfriend, Holly (Sissy Spacek), who watched him do it, are adrift in a double fantasy of crime and punishment across South Dakota and Montana. They’re playing make-believe, but the bullets and bloodshed are very real.

The first of writer/director Terrence Malick’s three landmark films (1978’s Days of Heaven and 1998’s The Thin Red Line are the others) was inspired by a real-life 1958 Midwestern killing spree.

Malick imaginatively transforms the story into a provocative study of people alienated from everyday life – but fascinating to us. Beautifully shot and memorable acted, Badlands is a spellbinding journey.

Order today

Win Badlands on Blu-ray

To celebrate the release of Badlands on Blu-ray, DVD and Digital HD Dual Format from March 19, 2018, IndieLondon is offering readers the chance to win a copy on Blu-ray. Simply answer the following question…

Q. Who directs Badlands?

Simply send the answer to Badlands competition and include your name, address, telephone number and email

Win Asif Kapadia's Ali & Nino on DVD

Ali & Nino

Preview by Jack Foley

DIRECTED by Academy Award® winning filmmaker Asif Kapadia (Amy, Senna), Ali and Nino tells the epic, heartfelt love story of two star-crossed lovers.

Set in 1914 at the brink of war, Ali (Adam Bakri, Omar) is an educated young Muslim noble living in Baku, the bustling capital of Azerbaijan. Nino (Exodus: Gods and Kings) is a Christian girl whose regal family hails from Georgia.

Facing all odds against them, Ali proposes marriage to Nino despite familial objections, religious divides and the war, all of which threaten to keep them apart.

As revolution brews and Azerbaijan seeks independence from Russia, Ali and Nino find themselves caught in a world of dramatic change where their love for each other is the only eternal spark.

Based on a 1937 novel, Kapadia captures the beautiful, sweeping Azerbaijani landscape, telling an enduring love story for the ages.

The film also stars Mandy Patinkin and Connie Nielsen.

Win Asif Kapadia’s Ali & Nino on DVD

To celebrate the release of Ali and Nino, available on DVD now, IndieLondon is offering readers the chance to win 1 of 3 copies. Simply answer the following question…

Q. Who plays Ali in Ali & Nino?

Simply send the answer to Ali and Nino competition and include your name, address, telephone number and email

Win Brimstone on Blu-ray


BRIMSTONE is a suspenseful tale of retribution set at the end of the 19th century in the American West.

Dakota Fanning (War of the Worlds) plays a mute young woman whose life changes dramatically when a vengeful and mysterious preacher (Guy Pearce, Memento) comes to town with sinister motives.

Brimstone picks up as our heroine, Liz (Fanning), a young and beautiful woman, is being hunted by a vengeful Preacher (Pearce) – a diabolical extremist and her nemesis.

But Liz is a genuine survivor; she’s no victim but instead a woman of fearsome strength who responds with astonishing bravery to claim the better life she and her daughter deserve.

Told in four chapters, Brimstone is a suspenseful tale of guilt and retribution that unfolds at the end of the 19th century in the unforgiving American West.

The film also stars Carice Van Houten (Game of Thrones, Black Book) and Kit Harington (Game of Thrones, Testament of Youth).

Brimstone is released on Blu-ray and DVD on Monday, February 19, 2018.

Find out more

To celebrate the release of Brimstone on Blu-ray and DVD from February 19, 2018, IndieLondon is offering readers the chance to win 1 of 3 copies of the film on Blu-ray. Simply answer the following question…

Q. Who directs Brimstone (Clue, the answer is in our preview)?

A) Paul Verhoeven
B) Martin Koolhoven
C) Jonathan Nolan

Simply send the answer to Brimstone competition and include your name, address, telephone number and email

Paddington 2 - DVD Review

Paddington 2

Review by Rob Carnevale

IndieLondon Rating: 5 out of 5

BY TURNS charming and hilarious, Paddington 2 is that rare sequel that actually betters the original in almost every way.

Buoyed by the runaway success of its predecessor, screenwriters Paul King (who also directs), Simon Farnaby and Jon Croker have delivered a crowd-pleasing follow-up that delivers eye-catching spectacle, knockabout fun, self-deprecating wit and a genuinely heart-warming vibe that honours the legacy of original creator Michael Bond (who died in June this year at the age of 91) in effortless fashion.

Everything about this sequel works, from its beautifully rendered CGI central character, to its imaginatively choreographed set pieces, right down to the perfectly judged guest appearances. It even clocks in at a brisk 90-odd minutes, meaning that it doesn’t outstay its welcome.

The plot finds Paddington (once again voiced by Ben Whishaw) taking on a variety of odd jobs with a view to affording the perfect gift for his beloved Aunt Lucy’s 100th birthday – a unique (but expensive) pop-up book of London.

But once the book is stolen by local actor Phoenix Buchanan (Hugh Grant), who views it as a way of turning his own fortunes around, Paddington is framed for the crime and sent to prison, leaving the Brown family (once again headed up by Hugh Bonneville and Sally Hawkins) to clear his name.

Unlike King’s 2014 original (which was upset by Nicole Kidman’s needlessly sinister villain), the plotting and pacing in this incredibly welcome sequel are perfectly balanced, making for a much better overall tone.

Paddington 2

Grant’s villain, while certainly villainous, is played much more tongue in cheek, thereby allowing the actor to send himself up rotten. It’s therefore one of the film’s great joys to find Grant donning various disguises (including a nun’s outfit) and mimicking Shakespeare in his quest to unlock the book’s secret treasures, while effortlessly making something of a buffoon out of himself to boot.

But Grant isn’t the only one on scene-stealing form. Paddington’s stay in prison affords him the opportunity to make several new [albeit unlikely] friends, the most notable of which is Brendan Gleeson’s wonderfully gruff head chef Knuckles, whose sensitive side is revealed by a shared love of Marmalade. Gleeson is pitch-perfect in the role, but never more so than while enduring the various mishaps placed upon him by Paddington’s attempts to win him over.

Tom Conti also shines as a moody judge, as do the likes of Hawkins and Bonneville as the Browns. Whishaw, meanwhile, imbues his Paddington with equal parts kindness, curiosity and bravery, thereby paving the way for a couple of moments of real poignancy towards the end. It’s a brilliantly judged performance and one that can’t help but melt even the hardest of hearts (as is Paddington’s want).

King’s direction, meanwhile, expertly juggles the need to keep things warm and fuzzy with moments of supreme excitement and well-judged, family-friendly humour. Crucially, he never overdoes the schmaltz, or at least ensures it is nicely offset by the humour.

Of the set pieces, an early experience at a barber’s is laugh-out loud funny, as are several of the prison sequences, while a finale aboard several trains is as eye-catching in its creativity as it is heart-in-mouth in terms of the sense of peril it affords.

And yet throughout, King invests the film with lovely touches – whether transforming Paddington’s prison cell into a jungle for a momentary flight of fancy, or allowing the pages of a pop-up book to come alive to indulge another of Paddington’s wish-fulfilment fantasies.

A tremendously moving finale, meanwhile, ensures that viewers of all ages will depart the cinema basking in the warm glow that this film provides, while looking back fondly on the many giggles it delivers along the way.

Paddington 2 is an unqualified success and fully deserving of its immediate classic status.

Certificate: PG
Running time: 95mins
UK Blu-ray & DVD Release: March 12, 2018

Win Terrifier on DVD


Preview by Jack Foley

To celebrate the release of Terrifier – available on Digital HD on March 30 and DVD on April 2, 2018 – we are giving away a copy on DVD.

A hair-raising homage to the grindhouse slashers, Terrifier is a thrilling, gory horror that introduces a new murderous icon in the form of Art the Clown.

Set to haunt nightmares for many years to come, Art is an unstoppable force who will slay anyone who gets in his way – and he doesn’t go easy on the grue.

“A thrilling, brutal, gory 80’s throwback” ★★★★ Arrow in the Head

“Dares to go where few films would even consider” ★★★★ Bloody Disgusting

“Terrifying from start to finish” ★★★★ Boxofficebuz

Order today


Terrifier is the story of the maniacal Art the Clown, who terrorizes three young women on Halloween, butchering everyone who stands in his way.

In grand Halloween tradition, we see the night he came home in all its gory glory, in a place where nobody floats and everyone dies. Art really is the clown who will haunt your nightmares.

Written and directed by Damien Leone, Terrifier stars David Howard Thornton (TV’s Nightwing: Escalation, TV’s Gotham) and Jenna Kanell (The Bye Bye Man).

Win Terrifier on DVD

To celebrate the release of Terrifier on DVD on Monday, April 2, 2018, IndieLondon is offering readers the chance to win a copy. Simply answer the following question…

Q. Who wrote and directed Terrifier?

Simply send the answer to Terrifier competition and include your name, address, telephone number and email

Win Royal Rumble 2018 on Blu-ray

Royal Rumble

Preview by Jack Foley

To celebrate the Blu-ray and DVD release of Royal Rumble 2018 (available to buy from March 19, 2018) – we are giving away a Blu-ray to one lucky winner!

Welcome to WWE’s most anticipated match of the year, the 30-competitor over-the-top-rope Royal Rumble! And for the first time ever, there’s both a men’s and women’s Royal Rumble Match, with the winner of each earning a championship shot at WrestleMania.

There’s also a three-way battle of behemoths as Universal Champion Brock Lesnar faces Kane and Braun Strowman, and AJ Styles defends the WWE Championship against both Kevin Owens and Sami Zayn in a two-on-one Handicap Match. Plus, much more!

It’s not just a night for making history – it’s a night for incredible, jaw-dropping action too!

AJ Styles battles the odds against the “Yep Movement” of KO and Sami Zayn as only AJ Styles can – with a phenomenal performance!

Meanwhile, it’s Beast vs Demon vs Monster as Lesnar, Kane, and Strowman clash for the Universal Championship – a match that is pure carnage from start to finish, with tables, chairs, and bodies broken along the way!

Meanwhile, the men’s Royal Rumble lives up to its reputation as the year’s most anticipated match-up, delivering surprises and huge showdowns. It’s dramatic, nerve-shredding stuff as the few final competitors battle for a shot at WrestleMania glory!

And the women’s Royal Rumble – the first match of its kind in WWE history – is every bit as sensational. Female superstars from different generations come together to change the course of WWE, proving that the WWE Women’s Evolution has stepped up to enter its next ground-breaking phase!

And if that’s not enough, the show ends with a shock debut from one of the most exciting female athletes in the world. The WWE women’s division will never be the same again!

Win Royal Rumble 2018 on Blu-ray

To celebrate the release of Royal Rumble 2018 on Blu-ray and DVD on Monday, March 19, 2018, IndieLondon is offering readers the chance to win a copy on Blu-ray. Simply answer the following question…

Q. Who does AJ Styles defend his WWE Championship against in Royal Rumble 2018?

Simply send the answer to Royal Rumble 2018 competition and include your name, address, telephone number and email

Paddington 2 - Preview

Paddington 2

Preview by Jack Foley

STUDIOCANAL is pleased to announce that the BAFTA nominated hit ‘family film of the year’ Paddington 2 will be available on digital download from March 5, 2018 and on DVD, Blu-ray and 4K UHD + Blu-ray from March 12, 2018.

The number one box-office smash-hit, recently passing £40m, will also be released as a Blu-Ray Steelbook and as a box-set with the first Paddington film.

The much-anticipated sequel to the worldwide hit family film finds Paddington happily settled with the Brown family in Windsor Gardens, where he has become a popular member of the community, spreading joy and marmalade wherever he goes.

While searching for the perfect present for his beloved Aunt Lucy’s 100th birthday, Paddington spots a unique pop-up book in Mr. Gruber’s antique shop, and embarks upon a series of odd jobs to buy it. But when the book is stolen, it’s up to Paddington and the Browns to unmask the thief…

Paddington’s biggest adventure yet sees Hugh Grant and Brendan Gleeson joining the all-star returning cast of Hugh Bonneville, Sally Hawkins, Julie Walters, Jim Broadbent, Peter Capaldi and Ben Whishaw as the voice of the beloved bear.

A Heyday Films and STUDIOCANAL production, Paddington’s return to our screens is helmed by BAFTA-nominated director Paul King (Paddington, Come Fly With Me, The Mighty Boosh) and written by Paul King and Simon Farnaby (Yonderland and Mindhorn).

The Paddington 2 Blu-Ray and DVD Extras include a director’s commentary, Rain on the Roof with Phoenix Buchanan (Full Screen), Paddington 2: The Challenges of Making the Film and a BAFTA Q&A with producer David Heyman, Paul King, Simon Farnaby, Hugh Grant and Pablo Grillo.

iTunes Extras include exclusive junket interviews with Cast & Crew.

Paddington 2 was nominated for three 2018 British Academy Film Awards: ‘Best British Film’, ‘Best Actor in a Supporting Role’: Hugh Grant, and ‘Best Adapted Screenplay’: Simon Farnaby and Paul King.

© P&Co.Ltd./SC 2018. Licenced on behalf of Studiocanal S.A.S by Copyrights Group.

Win Tango One on DVD and copies of Stephen Leather's book

Tango One

Preview by Jack Foley

STEP into the ruthless London criminal underworld and prepare yourself for action of the most brutal order when the film adaptation of Stephen Leather’s nail-biting thriller Tango One launches on Digital Download from March 5, and DVD from March 19, 2018.

Based on the award-winning and best-selling novel by top UK thriller author Stephen Leather (Murder in Mind, London’s Burning) and directed by Sacha Bennett (Get Lucky, We Still Kill the Old Way), Tango One is a fast-paced crime thriller about how far one man will go to rescue his daughter, and save his criminal empire from collapse.

When three undercover recruits are assigned an impossible mission to take down one of the world’s most wanted men, notorious drug dealer, Den Donovan (Vincent Regan, 300, Bonded by Blood), they have no idea who they are dealing with. As the undercover recruits inch closer to their target, they are each drawn in by the charismatic criminal leader – too close, perhaps, to remember the rules.

Tango One is a heart-stopping thriller where crime, corruption and power know no limits; brilliantly led by Regan, and supported by Sophie Colquhoun (TV’s Plebs, Captain America: The First Avenger), Joseph Millson (Casino Royale, TV’s Ashes to Ashes), Calum MacNab (Football Factory, The Firm) and introducing Union J star JJ Hamblett in his exciting feature film debut performance.

The DVD also features exclusive, unseen interviews with stars Vincent Regan, Sophie Colquhoun and director Sacha Bennett.

Get ready for an electrifying, home-grown thriller as Tango One releases on Digital Download on March 5 and DVD from March 19, 2018. Pre-order now

Win Tango One DVDs and books

To celebrate the release of Tango One on DVD on Monday, March 19, 2018, IndieLondon is offering readers the chance to win 1 of 3 copies on DVD as well as a copy of the book by Stephen Leather. Simply answer the following question…

Q. Who directs Tango One?

Simply send the answer to Tango One competition and include your name, address, telephone number and email

Murder On The Orient Express - Kenneth Branagh interview

Murder On The Orient Express

Compiled by Jack Foley

In the most timeless of whodunits, Murder On The Orient Express follows renowned detective Hercule Poirot (Kenneth Branagh) as he attempts to solve what would become one of the most infamous crimes in history.

After a shocking murder of a wealthy businessman on the lavish European train barrelling its way west in the dead of winter, private detective Poirot must use every tool of his trade to uncover which of the train’s eclectic passengers is the killer, before he or she strikes again.

Published in 1934, Agatha Christie’s novel, Murder on the Orient Express is considered one of the most ingenious stories ever devised. More than 80 years after its publishing, Christie’s novel remains beloved by new generations of readers.

Kenneth Branagh’s stunning re-telling of the beloved mystery with its acclaimed ensemble and breath-taking visuals invites audiences to take the most suspenseful train ride of their lives. In this interview, Branagh discusses why he wanted to make the film and some of the challenges of doing so…

Q. Where do you see an Agatha Christie mystery fitting in modern culture?
Kenneth Branagh: Agatha Christie fits in with the now as her stories intersect with other peoples’ experience. In Murder On The Orient Express she brings up a number of chewy moral dilemmas. They include a consideration of the nature of revenge, whether revenge equals closure, whether revenge equals justice and whether an eye for an eye, a tooth for a tooth is ultimately the way to resolve human differences.

If it isn’t, where does conscience lie in all of that? And at least in this version, she gives us a Hercule Poirot, or the seeds of a Poirot, who says in this movie there is right, there is wrong, there is nothing in between but the story (and it always did, but it does even more so now) challenges that moral absolutism and says maybe there’s plenty in between that has to be considered.

All of that I think fits underneath into the underbelly of something that continues in its sort of classic form to be an entirely intriguing, kind of lean-forward mystery where this issue of ‘Do people know what happened or not?’, well, my experience on this journey has been that fewer people remember what the end was than they like to let on! She has her populist storytelling excellence and she has a sort of secret moral debate so I think these are good things to engage with a modern audience.

Q. As a Brit, did you have to engage with Agatha Christie?
Kenneth Branagh: I’m one step removed, perceived as an Englishman but technically Irish. Also, interestingly, I found it quite sweet when I heard that the first actor to ever play Poirot was also a Northern Irishman, a Belfast fellow called Austin Trevor (in Alibi, 1931) and, so we’ve got two Northern Ireland boys have been part of the Poirot tradition!

Agatha Christie is a strong part of your televisual life growing up, whether it’s watching Miss Marple or Poirot or Tommy and Tuppence (Partners in Crime series). And she was a dramatist in her own right, so she wrote sometimes directly for the theatre; she loved actors.

In my own lifetime, I’ve seen the fashion regarding Agatha Christie go in and out. For a while she was regarded as old hat. The image of her herself as a Marple-ish spinster possibly unconcerned with genuine passions, and all of her works somehow being confined by a sort of ‘village green’ sensibility, I’ve also seen explode in the last few years. There was a very dark and troubling account of And Then There Were None the BBC put on a couple of Christmases ago (2015). I’ve seen the same thing done for Witness For The Prosecution. I’ve seen much more of what you might call ‘dirty’ versions of Agatha Christie in the theatre and I’ve seen also a great appreciation for the – and this is no easy task – the workmanship, the craftsmanship of a writer who is very, very honest and direct about what she feels about her work.

She talked often about writing through bad periods and producing work that she still published that was not her best. I’ve seen her be in and out of Vogue and it seems to me that at the moment she’s riding high again with people coming to accept that there’s a level of perception and intelligence which she often poo-poohed; she described her work as mere entertainment – I think mere entertainment is a pretty good target to hit.

But I found this very interesting working on this film, learning her own life was rich, varied and complicated (although) she says that very interesting thing in her autobiography that she’s often been dreadfully, dreadfully unhappy and lost and depressed but that she believes that life ultimately is a grand thing. I feel that admission – it’s not a very English admission, is it? I feel it is something a little more introspective. She had an unhappy first marriage, she had the famous disappearance (where she disappeared for 11 days after her husband asked for a divorce), and she travelled, bravely, courageously in dangerous parts of the world. So, I think she’s got a little grit in her accounting of human behaviour that is the thing that keeps her re-emerging as a newly discovered expert as opposed to some sort of biscuit-tin, heritage English museum piece.

Q. You’re a student of classics; do you think she’s approaching classic status?
Kenneth Branagh: One enemy of the potential perception of Agatha Christie’s classic status has been volume. People are very resistant to the size of her output, indicating somehow that it must mean a diminishing of quality. But, you know, Shakespeare, his 37 plays, that’s fairly prolific! She would indeed be the first to admit that there’s variable quality.

She’s always had the ability to provide a page turner but amidst the very significant volume of high quality pieces, I think she still does have something. John Banville, who’s a wonderful writer and a great literary figure as well, even he, who is no fan, says ‘My god, she’s got something though, she really has got something, and she’s got that hook into what interests a reader.’ And I think it goes beyond that often, so I think she deserves a significant re-appreciation.

Murder On The Orient Express

Q. Tell us about the challenges assembling such a cast?
Kenneth Branagh: You know that with 15 leading characters and 12 or 13 suspects, depending on how you view it, in a film that, in our case, is one hour and 47 minutes long, there’s going to be a finite amount of time to meet all those people with detail. Consequently, when they do make their impression it must to be punchy and significant, so you look for the highest quality of performer. You’re also looking for someone who’s going to take their opportunity to have their moment with Poirot, in their detective moment, and also in their appearance in these ensemble scenes where they might also score more powerfully and join into the spirit of that without competing.

The key in this instance was Judi Dench, she was the first domino (to fall) that produced the effect with everyone else. She said yes immediately; she hadn’t read the script, didn’t know the story but knew she wanted to work with me for some reason (laughs)!

We were in the middle of doing a play, Shakespeare’s The Winter’s Tale, and she said yes before I’d finished asking the question. She was really a totemic figure for the others, a magnetic draw in terms of the quality of her work and her sense of fun. She was also in a way a yardstick for tone because we knew that she could be funny and joyous and have a larky quality but she could also turn on a dime when it comes to a seriousness of purpose.

I wanted everybody to take the notion of death and murder seriously, that it’s not just an element in a murder game but something that in this case goes deep into a past tragedy and is to do with a loss of a child. So, we needed that sort of gravity to be available but, also, we wanted people who could embody the glamour of the escapist excitement that is taking a train from a foreign, exotic location through a dangerous environment eventually to be marooned there for a while and then off into Europe. You wanted people who could wear the clothes and live the life, as it were, so Judi Dench begat Michelle Pfeiffer, who begat Johnny Depp and Daisy Ridley.

I think they all needed to feel that they could make an impression with their characters and so I’d meet with them and talk to them about their individual traits. And once we got on to the set I rehearsed very little and we tried to capture as much initial excitement and first-take energy from those actors as we could.

Q. How did the director judge the lead actor’s performance?
Kenneth Branagh: [Laughs] Well, thank God he had some help! I had the great luxury of months and months of run up to it. I was in a theatre season with Judi, 13 months at the Garrick Theatre in London doing seven plays that we had a company assembled for (in 2015-16). Across the second half of that season was my chance to work on the accent and the walk and the moustache and all the things that go with it. And

I worked with a director, Rob Ashford, an American director who co-directed a number of plays in that season with me and then came on board for a part of the time as my associate. His job was to watch my performance very carefully and offer another set of eyes. Also, Jimmy Yuill, an actor associate of mine who I’ve worked with for many years, did the same thing. But, of course, ultimately in film you do have the opportunity to look at the rushes of what you did and, in some cases, I’d do the scene again if I didn’t think I’d quite hit the mark.

I found that a touch of Poirot was infecting me, so I was liking being a bit of a neat freak! I liked things clean and clear and not too many people around on set, so that’s what the actor brought to the director; I would say to myself you need that person there. And my ritual in the morning was very quiet; I’d give my notes (to the actors), start the very time-consuming process of assembling the moustache and then try and meditate and clear my head for the day’s work in much the same way as I felt Poirot went to work on a case.

Q. You mention most people first being exposed to Agatha Christie’s work on television and I guess you also saw the 1974 film of Murder On The Orient Express on TV too. What hints or detours did you take from that classic?
Kenneth Branagh: I love [director] Sidney Lumet’s work and had the chance to meet him a few times over the years before he passed away, which was a great privilege. He also wrote a fantastic book, called Making Movies, which I’ve always recommended to anybody directing a movie for the first time. Even in the digital age, it works because it’s so much about process and what film’s about. It’s a fantastic book.

I knew that I wanted our film to be more expansive than that one chose to be. I wanted to be outside more, I wanted to explore more of the train and the environment around the train. In a way, it was a marker of what I enjoyed hugely but did not want to do. Sidney described it as a romp and I didn’t feel ours was a romp. I felt ours was more of a brood, a bit more of a brood on death, and in a way the further the story goes in, the more layers are unravelled, the more naked it becomes, the more raw it becomes. Whereas I think the other version loved its theatricality and its size. I loved it, but we were determined to be different.

Q. Agatha Christie mysteries stand up to repeat viewings due to their twists and Murder On The Orient Express should do the same in home entertainment as people will want to watch it repeatedly…
Kenneth Branagh: I hope so. I noticed when I was talking to people about doing this film and along the process of making this, there’s definitely a keen interest. It’s a very fetching title, you get ‘Murder’ and you get ‘Orient’ and you get ‘Express’, which are all very powerful words in their own right, very evocative. Even the gift of a good title is something that Agatha Christie understands. And there’s something about night time, escaping into something different and her absolute engagement with murder that is bold. It also feels like a movie that’s for the nights closing in, as it were. People huddling down and watching this thing about people trapped in the winter.

Q. Can you explain the different way you filmed Murder On The Orient Express, which looks ravishing?
Kenneth Branagh: We chose 65mm (wide high-resolution) film which is the format that I used when I did Hamlet 20 years ago. And I had the privilege of seeing it used again when I was in Dunkirk watching Christopher Nolan use those same cameras [on his 2017 film, Dunkirk]. They are the last four 65mm cameras in the world and we got to use them again on this film.

The goal there was to exploit the additional size and definition of this larger piece of celluloid. All my movies have been shot on film thus far, and my own view is that 65mm – even though most people will see this on glorious 4K digital and it looks fantastic that way – baked into it is all the human quality. With the celluloid, you get that warmth, because literally it’s moving, the silvers moving through the celluloid, the pixels aren’t locked in in the same way as digital. It isn’t fixed, so there’s a dynamic to it that also allows when it comes to evoking a city like Istanbul, to just get the layers in the frame to feel more three-dimensional. There’s a more immersive quality.

Plus, in my view, you really have to make an appointment with the audience in the first instance for a trip to the cinema these days. You want not only location and spectacle to be there but you want something where the subject matter meets the format and if you’re talking about a forensic investigation into the truth of the matter, as we do in Murder On The Orient Express, close ups – as I noticed in Dunkirk, are incredibly powerful when they’re at that massive size and with that amount of definition. Talk about seeing the whites of the eyes; you can see everything else that’s in the eyes as well and when the story is about whether a lie is being told or not, it’s a very expressive medium.

Q. You’ve left the door open to return as Hercule Poirot with a hint that he’s heading to the River Nile?
Kenneth Branagh: Who knows? It really depends on whether the audience responds. It feels with Michael Green as screenwriter, Twentieth Century Fox behind it as they are and certainly with my appetite for Poirot, we’d love to do some more but the audience will decide.

Read our review of the film

Read our interview with Michelle Pfeiffer and Leslie Odom Jr

Murder On The Orient Express is available now on Digital and on 4K, Blu-rayTM and DVD from March 5, 2018.

Murder On The Orient Express - Michelle Pfeiffer and Leslie Odom Jr interview

Murder On The Orient Express

Compiled by Jack Foley

In the most timeless of whodunits, Murder On The Orient Express follows renowned detective Hercule Poirot (Kenneth Branagh) as he attempts to solve what would become one of the most infamous crimes in history.

After a shocking murder of a wealthy businessman on the lavish European train barrelling its way west in the dead of winter, private detective Poirot must use every tool of his trade to uncover which of the train’s eclectic passengers is the killer, before he or she strikes again.

Published in 1934, Agatha Christie’s novel, Murder on the Orient Express is considered one of the most ingenious stories ever devised. More than 80 years after its publishing, Christie’s novel remains beloved by new generations of readers.

Kenneth Branagh’s stunning re-telling of the beloved mystery with its acclaimed ensemble and breath-taking visuals invites audiences to take the most suspenseful train ride of their lives. In this interview, Michelle Pfeiffer and Leslie Odom Jr talk about some of their experiences of making the film…

Q. Michelle, how much did you enjoy the range that your character has?
Michelle Pfeiffer: I found the range in this character challenging and the nature of this character challenging. Because we had such a large cast as well, our parts were concentrated so there was quite a lot of work in a short period of time, but I love a challenge and I had a great time doing it.

Q. Leslie, for your character, he has achieved a lot and is quite an exceptional person, what are your thoughts about him?
Leslie Odom Jr: I was really grateful to have the back story that Ken (Branagh) created, along with our costume designer too. They made him make sense for the time. He’s also two characters from the book mixed together and there was a race change so there was so much specificity when it came to the costumes and the sets. It was like time travel. So much of your work is done for you.

Q. did you enjoy the evocative era that the film was set in?
Michelle Pfeiffer: To actually be in those clothes is not as romantic as it looks. For the viewer, and even in your costume fittings, they’re so beautiful and costume designer Alex Byrne is such an artist. By the time I come on, they’ve spent months thinking about this and researching this so at that point they know way more than you do about your character and for me, it’s just the beginning so it’s a kick start for me and incredibly valuable.

Murder On The Orient Express

Q. Leslie, you have one of the coolest action sequences in the film. Did you enjoy shooting that?
Leslie Odom Jr: I didn’t enjoy it very much. Ken did this thing, I think he actually did it to everyone, where you look at the schedule and you think, that’s odd, I’m shooting one of my biggest scenes on the first day.

Michelle Pfeiffer: He did that by design. It’s so mean!

Leslie Odom Jr: Like Michelle says, you don’t really know who this guy is yet. I hope I’m ready. He wanted that feeling that I was having to peek through the character and to use those nerves.

Michelle Pfeiffer: Because Ken had to be everywhere all the time between acting and directing, I think that he wanted to have that time right at the beginning when he didn’t have so much to do so that he could spend that time helping you to find your character and helping you during your performance. It was during those scenes when we had the most to do, so in some ways I think he was doing it for us, but it didn’t feel like that.

Leslie Odom Jr: So yeah, that was my first or second day shooting so I didn’t enjoy it, but I liked looking at it!

Q. Michelle, the scene where you meet Johnny Depp in the corridor is brief but so full of tension. What are your memories of shooting that scene?
Michelle Pfeiffer: I love working with Johnny. He’s a lot of fun. It’s a fun scene.

Leslie Odom Jr: It’s a tiny moment, but it made the trailer for a reason. It tells us a whole lot about both of you.

Read our review of the film

Read our interview with Kenneth Branagh

Murder On The Orient Express is available now on Digital and on 4K, Blu-rayTM and DVD from March 5, 2018.