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Compared to the original "Murder on the Orient Express", it's dreadful. Doyle did the best he could, I believe, but he did not come near the brilliance of R.R. Bennett's score.
The main trouble is that Branagh has a very heavy hand. His Poirot is NOT Poirot. The mustache is a joke, is it not? Moreso in this film than in the follow-up "Death on the Nile", where he posits a preposterous reason for the mustache.
Poirot was not...ever...a soldier and was not...ever...wounded in the face. And the love of his life (!) did not...EVER...suggest he grow a vast mustache to cover the facial scar.
His "Murder on the Express' is a terribly sterile film, to me. And "Death on the Nile"....well, he uses Christie's idea and makes the worst of it. Those CGI shots of the Abu Simbel sequence makes Ramses look like a grinning idiot. The interiors of the small boat on the Nile are wider than most of the interiors on "Titanic"....absurd. And nowhere in the middle east, much less Egypt, would commercial cruise workers/attendants in gold livery, no less, be women. I think Branagh borrowed his from the opening of Spielbergs "Temple of Doom" musical sequence.
Both films disappoint me enormously. I guess I was spoiled by the far greater films with scores by Bennett and Rota.
I hold out hope, however, that "A Haunting in Venice" elevates the Christie "Hallowe'en Party"...a story that never gripped me as a book or Suchet/Poirot vehicle.
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