2017-11-13. Finally caught up with a global synchronization, fans from different countries were watching a remake of "Murder on the Orient Express" at the same time. Depp's (Johnny Depp) criminal (the case is a reference to the homicide of the American Lindbergh family), killed en masse by a group of people connected to it on a train from Istanbul to Western Europe (Agatha Christie's original "Murder in the Calais Car").
The problem is that mass killings serve justice, but fail to justify "murder." Poirot appears, like a pseudo-Christ, interrogating the twelve parties in a judgmental manner. This was originally the most exciting part of the movie, but it has been softened in this version. Think about it, everyone is covering up the truth. Facing Poirot's sharp eyes and sharp teeth, trying their best to cover up the scene where the blade rises and falls on the criminal's chest will make the audience feel how much tension and confusion.
Kenneth Branagh's identity as director and star allows him to explore the possibility of "justice" here - in our world that has long since stopped talking about "justice". Just as he has been looking for two identical eggs, but one foot steps on the filth, and the other foot has to step on it to gain order and balance.
The world's tie is often worn crookedly, much to Poirot's pain, but he still covers up the truth with a white lie to spare one member of each collective vengeance. Crime and punishment fell on the sinner, but let the mass train run on a small station. It's a compromise - so the two worrying eggs are pretty much the same.
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