Belgian sleuth Hercule Poirot (Sir Kenneth Branagh) investigates a murder while attending a Halloween seance at a haunted palazzo in Venice, Italy.

As one of cinema’s greatest ever storytellers, Sir Kenneth Branagh continues to ride high with his new take on Agatha Christie’s classic detective tales of Monsieur Hercule Poirot, the dapper gentleman detective who has enchanted the world for more than 100 years and once again Branagh brings a new edge to the grand detective in his all-new vision for the character in A Haunting in Venice. Having previously adapted Christie’s most well-known works, including 2017’s Murder on the Orient Express and 2022’s Death on the Nile, the filmmaker now switches his attention to a different style with an adaptation loosely inspired by Christie’s Hallowe’en Party, and it gets particularly spooky as this new narrative channels a dark and foul tale of murder and mystery.

Where Murder on the Orient Express was an opulent and lavish story, and Death on the Nile veered more into exoticism and eroticism, A Haunting in Venice throws audiences into an all-new different type of realm as Branagh plays with elements of the supernatural and brings a fanged horror cinema edge to the production. While these stories all find Poirot and a host of suspects bound together in a single location, A Haunting in Venice levels up the intensity, and it’s very much a ‘siege movie’. Focusing on detail and atmosphere, Branagh brings a unique gothic tone to the picture, leading to a fair few unsettling moments. Adding to the creepiness of the atmosphere is the work of the film’s cinematographer Haris Zambarloukos, who utilises a range of tight shots and fish-eyed lenses that warps the screen and the perspective of the film, adding to its unsettling ambience.

A Haunting in Venice marks a change for the dapper Hercule Poirot, and we see Branagh’s great detective stumble upon a mystery that lays bare his belief in the wisdom of logic. Branagh challenges both his character and the audience with a mystery that skirts the line between the realm of the living and the dead, and the horrors at the base of this narrative have a major effect on the character of Poirot. As the detective who sees all the workings of those around him, the events and brutal murders of A Haunting in Venice begin to make Poirot question his own deductive mind, and these feelings of doubt that he suddenly feels give the film an edge not previously seen in other Poirot pictures.

Branagh also once again assembles an incredible group of collaborators for his third Poirot film, and all of them find themselves suspect in A Haunting in Venice. Tina Fey brings a snappy and intelligent presence that rivals Branagh’s Poirot as Ariadne Oliver, a famed novelist and long-time friend to the great detective. Recent Academy Award winner Michelle Yeoh again stuns as the witchy and wicked Joyce Reynolds, a medium with her own dark secrets. Jamie Dornan is a tragic and self-destructive presence as Dr. Leslie Ferrier, and is supported by his oddball and precious son Leopold (Jude Hill). Kelly Reilly’s Rowena Drake is a glamorous yet shallow woman whose obsession with finding her daughter’s killer leads to the haunting inside her grand palazzo. Riccardo Scamarcio makes for a gruff and frightening presence as Vitale Portfoglio, a former policeman turned bodyguard for Poirot, and all of them have a part to play in the sinister events of A Haunting in Venice.

The action builds quickly in A Haunting in Venice, and this is a picture whose atmosphere gets under your skin. It is a real departure from what we’re used to seeing within a Poirot film, and Branagh’s direction adds a much-needed level of edge that it helps to keep the story moving at a kinetic pace. The film’s horror edge also makes it an interesting watch, and the unexpected is waiting in all corners of the dark shadows of A Haunting in Venice.

For audiences who are looking for a thrilling, atmospheric and intense murder mystery, A Haunting in Venice offers plenty of surprises, and audiences will be pleased with the new direction that the great detective, Monsieur Hercule Poirot, is taken this time around.

Image: 20th Century Studios

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Watch the brand new trailer for A Haunting in Venice below:

Here’s the official synopsis:

In post-World War II Venice, Detective Hercule Poirot (Sir Kenneth Branagh), now retired and living in his own exile, reluctantly attends a seance. But when one of the guests is murdered, it is up to the former detective to once again uncover the killer.

Following on both 2017’s Murder on the Orient Express and 2022’s Death on the Nile, 2023’s A Haunting In Venice is a film that will shake up the genre of Poirot’s world and the expectations of audiences as Branagh leans into a more gothically charged story of séance and the dark arts. A shocking murder soon follows, and soon Poirot is trapped with a host of would-be killers, along with the presence of a vengeance-crazed ghost.

This new trailer makes for an incredibly shocking watch, and A Haunting In Venice is sure to move at pace as the thrills are cranked up. As he’s done with all previous adaptations, Branagh has assembled an incredible team of co-players for this auspicious production that includes the likes of Kyle Allen, Camille Cottin, Jamie Dornan, Tina Fey, Jude Hill, Kelly Reilly, Michelle Yeoh, Emma Laird and Riccardo Scamarcio.

Brace yourself for plenty of scares and thrills when A Haunting In Venice arrives in cinemas on September 14.

Image: 20th Century Studios

The post The mystery becomes sinister in “A Haunting in Venice’ appeared first on SpicyPulp.

Watch the all-new trailer for A Haunting in Venice below:

Here’s the official synopsis:

In post-World War II Venice, Detective Hercule Poirot (Sir Kenneth Branagh), now retired and living in his own exile, reluctantly attends a seance. But when one of the guests is murdered, it is up to the former detective to once again uncover the killer.

Adapted from the lesser-known Hallowe’en Party by Agatha Christie, A Haunting in Venice throws Poirot into the midst of another dangerous case as a seance soon turns to murder, and the good detective must look to fact and season to counter superstition and malice.

The Poirot-universe is in full swing with A Haunting in Venice and this is a film that is certain to scare the hell out of audiences with its chilling tale of horror and murder. As he has done with Murder on the Orient Express and Death on the Nile, Branagh has packed this film out with a superb cast that includes the likes of Kyle Allen, Camille Cottin, Jamie Dornan, Tina Fey, Jude Hill, Kelly Reilly, Michelle Yeoh, Emma Laird and Riccardo Scamarcio, and each and every one of them catch the attention of the great detective’s good eye.

With excitement, intensity and intelligence, A Haunting in Venice promises to be a tale that will spin up audiences in its reach, and it’s a cinematic event you won’t want to miss when it arrives in cinemas on September 14.

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The peace and tranquility that was temporarily present on the S.S. Karnak is destroyed after one of the passengers is found murdered. Renowned Belgian detective Hercule Poirot (Kenneth Branagh) is entrusted with the important task of identifying which one of the passengers is the killer before they strike again.

Returning once more to the big screen as the dapper and inquisitive Hercule Poirot is Sir Kenneth Branagh, and the world-renowned thespian and director pulls out all the stops with a must-watch adaptation of Agatha Christie’s famed story Death on the Nile. Taking audiences to the exotic landscape of Egypt, circa 1936 and the mystery of the Nile River, Branagh establishes a stylish, slick, sexy and sinister new sequel to his hit 2017 adaptation of Murder on the Orient Express and in doing so continues the adventures of the grand Poirot. And what an experience it is. Painting a lavish portrait on his cinema canvas, Branagh crafts a film that is beautiful to look upon and entices you in with a twisting and complex narrative that changes the rules at every turn and which will have you clutching the edge of your seat from beginning to end.

Serving as both lead actor and director, Branagh has intimate knowledge of the world of Agatha Christie and her charismatic detective, Monsieur Hercule Poirot and in Death in the Nile he is able to focus on further character development of the great detective while showcasing a dangerous new crime that will test the detective’s skills and intellect right to the edge. As a filmmaker, Branagh is a man who is in love with the scope, scale and possibilities that the movie theatre provides and make no mistake Death on the Nile must be seen on the big screen. With a talented cast and team at his side, Branagh makes Death at the Nile an utterly incredible work to watch on the big screen and he spares no expense in bringing the glamourous world of an exotic Egypt of the 1930s to life. Costuming and production, hair and make-up, visual effects and score all come together to bring the heat and passion of this story to the big screen and you’ll find yourself transported to a far away time and place and it’s an utterly marvellous watch.

Where his work on Murder on the Orient Express was more in keeping with the classic murder-mystery, here in Death on the Nile, Branagh turns the heat up and this film is a pure thriller in every sense of the word. Dripping with sex appeal and seduction, Death on the Nile is a firey and passionate film that gets under your skin, and soon a deadly game of murder is afoot and everyone aboard the glamourous and exotic cruise line, S.S. Karnac, is a suspect. While Branagh does take his time with the narrative he moves quickly and sets up the jealousies and resentments that set the story in motion, and gives this film a steely noir edge that makes the proceeding story extremely interesting to watch. Branagh moves from left to right and his talented cast keeps you hooked and your mind running in puzzles and you won’t want to look away as the body count rises and Poirot is pushed to the limits to solve the case.

As this is the second time around, Branagh also allows himself the ability to draw out Hercule Poirot’s character development and fans of the character will be in for a treat as to what mysteries he brings to the screen. One particularly notable scene reveals itself as an origin of sorts and it’s incredibly interesting to see Poirot’s intellect and curiosity form. Audiences will be in for a definite treat with this further exploration of the dapper detective and it’s very fun to see two sides to this famous character. One is the aloof, suave, dandyish man of the world who basks in his worldly travels, expensive meals and quality beverages, the other is a committed, and frenzied bloodhound who becomes downright dangerous when he’s stuck into a case and it’s a great juxtaposition to watch unfold on screen. Branagh has the ability to easily snap back and forth between the two personas of Poirot and it makes his performance very interesting to watch.

As a director, Branagh has also assembled an incredible cast to bring Death on the Nile to life and there are real standouts amongst its rank. Gal Gadot brings a radiant glamour as heiress Linnet Ridgeway-Doyle and there’s a flamboyant style and interesting two-faced quality to her performance. Gadot is sharp and lustful as Linnet and she portrays her as a woman used to getting what she wants and whose actions have also brought her scornful enemies at the same time. Opposite Gadot is Emma Mackey as Jacqueline de Bellefort, a sophisticated and dangerous femme fatale who has it in for Gadot’s Linnet and Mackey keeps her cards close to the chest as this haughty, debonair character. Russell Brand makes a complete and total transformation as the good Dr. Linus Windlesham, polished and pressed in an array of perfectly tailored suits it’s a real turnaround for him as a performer and he brings an interesting perspective to the story. Then there’s Jennifer Saunders and Dawn French as Marie Van Schuyler, a socialite turned communist and her nurse-companion Mrs. Bowers and the two of them keep the plot interesting.

Death on the Nile is a cinematic thriller that is both beautiful and intense at the same time and audiences who are seeking a grand adventure will be transported back in time thanks to its grand production, sensational narrative and marvellously rendered characters. It’s a movie-going experience worthy of the big screen and audiences will have a glorious time when they buy a ticket for this exotic ride.

Image: 20th Century Studios

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A semi-autobiographical film that chronicles the life of a working-class family and their young son’s childhood during the tumult of the late 1960s in the Northern Ireland capital.

As an actor and director, they don’t come with more majesty than the legendary Sir Kenneth Branagh. A veteran of stage and screen, Branagh has long championed the arts and their production and has tackled a variety of projects over many different genres. Unafraid to explore narrative to its fullest, his is a career that you cannot pigeonhole and his work speaks for himself. Now at the age of 61, he makes to look back on his life and youth with the semi-autobiographical film Belfast and it’s an utter work of art. Mixing the trauma of Ireland’s infamous Troubles as seen through the eyes of a young child, Belfast is an intimate look at family, community, connection and what makes a home and its story is sure to bring tears to your eyes.

As a cinematic experience, Belfast was not what I was expecting. It’s a deeply dramatic, yet entirely warm story of one family living through extraordinary times and told in a very unique frame of view. Told from the perspective of 9-year-old Buddy, who is played in an extraordinary debut by the young Jude Hill, Belfast is constructed like a fairy tale of sorts with its young protagonist at the centre as he grows in a volatile and changing world. With a unique mix of childhood innocence set against very fraught times, we see a young Buddy living his life aware of, yet at the same time oblivious to the greater events around him and it makes for a very interesting narrative choice from Branagh. The film’s dream-like style is also complemented by the stark black and white cinematography of Haris Zambarloukos which gives Belfast a very artistic leaning and heightens the drama and emotion at the centre of the story.

In bringing this deeply personal story of Belfast to the big screen, Branagh enlists some of the best theatrical talent working today. In the roles of Ma and Pa, the parents to young Buddy, Branagh casts Caitríona Balfe and Jamie Dornan and the two make for a perfect couple on-screen. As Ma, Buddy’s mother, Caitríona Balfe is a vision of beauty, understanding and tenaciousness. Living in Belfast her whole life she is a woman who is a central component of her small confined neighbourhood and who has sheltered her young family from the poverty that has surrounded them. Now with the rising violence that surrounds them, she’ll do anything in her power to protect her family and her love has a sternness and an edge to it as all good mothers display when raising their young. Balfe has a lot to handle as the mother of two misfit young son’s and her love for her neighbourhood and home is a defining part of her character and she expresses a role that is deeply personal and feminine in its performance.

As Buddy’s Dad, Pa, Jamie Dornan is a strong male role model in his life, but he’s also an entirely human and somewhat flawed character. Desperate to give his children a better life he spends much of his time away in London working as a joiner, and so it is Ma who spends much of her time raising their young sons. Pa also has his own deep flaws as a gambler and his occurred debts have caused much pain for his family and Branagh does not hold back in showcasing these flaws on screen. But even with his failings, Pa is a good man who knows right from wrong and who understands the danger of the Troubles and his stance as a Protestant in this conflicted conflict and he’s unwilling to cast stones at his neighbours. As Pa, Dornan gives a very courageous and honest performance and he gives this film a masculine balance to Balfe’s femininity.

Also present and a key part in the story are Buddy’s grandparents, Granny played by the legendary Dame Judi Dench and Pop, played by noted Irish actor and Branagh’s contemporary Ciarán Hinds. As the elder residents of Buddy’s thriving community, Granny and Pop are a pair of doting old lovebirds who care deeply for each other and their family and who have many lessons to pass on to Buddy and his family. Growing up around them, Buddy spends considerable time with his grandparents and their life lessons leave a lasting impression on him. Both Dench and Hinds are perfectly matched and present a great sense of worldliness to Belfast’s narrative and are essentially the glue that holds their family together.

And finally standing as the central character in Belfast is the delightful Jude Hill as Buddy and he’s perfectly cast in the role. Standing in as a reflection of Branagh’s own life growing up in Belfast in the turbulent era of the Troubles in the late 1960s, Buddy is the character by which the audience enters and views the events of the narrative that unfolds before us. Hill brings a terrific sense of childlike innocence and wonder and is almost unaware of the events that are surrounding him. For him, it’s like a game and time and time again he finds himself in plenty of trouble due to his misfit actions. But Buddy’s not a bad kid and he has a tremendous heart and a great love for the people of his community. Through this story we see him grow up, encounter a sense of first love and find a sense of magic in the place he calls home. Hill is a perfect stand-in for a young Branagh and his genuine performance shine through completely.

Belfast is a beautiful story of family, community and what it means to find a home. It is a story that is a thoughtful portrait of past nostalgia, while also being entirely contemporary at the same time. It’s beautifully delivered and packed out with heart and love and all those who watch will be sure to think about their own lives, families and home and hold those memory and those people just a little bit closer to their hearts. It’s the film we could all use in our lives right now and is a cinematic experience that will leave its mark on your heart.

Image: Universal Pictures

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Check out the full trailer below:

Here’s the official synopsis:

A semi-autobiographical film that chronicles the life of a working-class family and their young son’s childhood during the tumult of the late 1960s in the Northern Ireland capital.

Step inside the magic of Belfast with the all-new featurette below:

Drawing on his one childhood growing up in Belfast, Ireland in the early 1960s and the turbulent political element that imposed itself on the city, Belfast looks to be a touching tale of family, love and community, and Branagh appears to have placed all of his heart into this piece of cinema.

Led by incredible performances from the likes of Caitríona Balfe, Jamie Dornan, Ciarán Hinds and the always fantastic Dame Judi Dench, Belfast is shaping up to be a thoroughly remarkable cinematic experience and it’s certainly the type of film and narrative we could use in our lives right now.

Shot in crisp black and white and set to the groovy tunes of the era, Belfast looks thoroughly beautiful in its conception and audiences are sure to get caught up in the moment with this one.

Get ready to feel the love when Belfast arrives in cinemas on February 3.

The post Kenneth Branagh steps back in time with ‘Belfast’ appeared first on SpicyPulp.

The all-new trailer is here and we couldn’t think of a better film to start off 2022 than with Death on the Nile. So enjoy:

Here’s the official synopsis:

The peace and tranquility that was temporarily present on the S.S. Karnak is destroyed after one of the passengers is found murdered. Renowned Belgian detective Hercule Poirot is entrusted with the important task of identifying which one of the passengers is the killer before they strike again.

Presenting a gripping tale of murder and mystery this new trailer for Death on the Nile showcases a beautiful and decadent cinematic event that is sure to have you scratching your head as to who the real killer is and just what their motives are. Branagh again returns as Hercule Poirot and he ramps up the tension quickly with this intense who-dunnit. Beautiful scenery, costuming and ambience only intensify the experience of Death on the Nile and this is going to be a grand cinematic event up on the big screen.

The trailer promises an incredibly detailed watch and the cast is stacked with a cast featuring the best of the best including Gal Gadot as Linnet Ridgeway-Doyle, Annette Bening as Euphemia, Russell Brand as Dr. Linus Windlesham, Rose Leslie as Louise Bourget, Emma Mackey as Jacqueline de Bellefort, Sophie Okonedo as Salome Otterbourne, Letitia Wright as Rosalie Otterbourne, Dawn French as Mrs. Bowers and Jennifer Saunders as Marie Van Schuyler, you can be certain that Death on the Nile will be a theatrically curious and inquisitive watch.

Ready yourself for glamour and plenty of secrets when Death on the Nile arrives in cinemas on February 10.

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When it comes to knowing Shakespeare there is no actor more passionate about the great author’s work than Sir Kenneth Branaugh. You only need to look at his illustrious filmography with works that include Henry V, Othello and Hamlet to understand that this is an actor who truly revers the great Shakespeare and here in All Is True, Branagh attempts to capture the life force of this great creator. Set following the events that saw his famed Globe Theatre burn to the ground, Shakespeare retires to his countryside home of Stratford-upon-Avon and is content to life out the rest of his life in relative anonymity, but there’s one thing he simply can’t escape: himself.

This quite and reflective canvas offers Branagh great space to examine Shakespeare and his transformation into the author is simply incredible to behold. Through make-up and costume he stops being Branagh and instead becomes Shakespeare and his performance is driven by a crotchety personality that now detests celebrity and talent in all it’s form. With All Is True Branagh works to dissect who this man is and how his public persona and personal talent came at a cost of his family life and the happiness that such things bring. His performance is incredibly open and vulnerable here and I believe that with All Is True we are seeing Barabngh’s definitive statement on the bard in full openness here.

Joining Branagh in the film here as Shakespeare’s famed wife Anne Hathaway is living legend Dame Judi Dench and she is none too pleased with her husband here. There’s is a complex relationship from the start and with Anne we are seeing the repercussions of a wife who has spent the better part of her life alone, and who sees her husband as more of a stranger than that of any kind of lover. Again it’s honesty that drives Dench’s performance here and seeing her with Branagh on-screen is cause for much excitement.

Finally, the great Sir Ian McKellen also graces us with his immense talents in All Is True as Henry Wriothesley, 3rd Earl of Southampton, a subject of many of Shakespeare’s most revered sonnets and who visits the great writer one final time. In their shared scene together McKellen and Branagh trade both ideas and dialogue between one another and it is a great dramatic piece to watch. Like Branagh, McKellen is a performer who knows Shakespeare intimately and this informs his performance as the Earl of Southampton, and the resulting scene and screen time that the bard and his subject have together gives another insight into the notion of creativity and how it unfolds.

In terms of a cinematic experience, All Is True is an utterly beautiful piece of cinema to behold. Through production design, make-up, costuming, music and it’s rich cinematography, audiences are transported back to 1613 and all of it pulls you deeper into the story that Branagh seeks to tell. Cinematographer Zac Nicholson captures All Is True with an eye to natural light and practical in-camera lighting set-ups and his eye matched with that of Branagh results in a beautifully shaded film.

As a meditation on creativity, personality and life, All Is True is both grand and intimate and it thoroughly leaves its mark upon its audience. I would cite it as one of the most enjoyable pieces of cinema that I’ve had the pleasure of watching this year and I would wish everyone to see it and bear witness to this beautiful presentation of the life of William Shakespeare.

Image: Sony Pictures

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Having completed a case, world-famous private detective Hercule Poirot (Sir Kenneth Branagh), decides that a well deserved holiday is in order. And so the debonair detective boards the famed Orient Express for a bit of R&R. But when a shocking murder occurs on the train, Poirot finds his holiday interrupted and is flung into a race against time to find the murderer before they strike again.

Branagh’s envisioning of Murder on the Orient Express is blockbuster filmmaking at its finest. The esteemed director and thespian channels the grandiose dramatic epics of the 1930s and 1940s with his adaptation of this classic tale. Everything is shot in camera and Branagh makes the most of his enormous set piece, The Orient Express herself. While there may be a detective, a victim and twelve different suspects, the Orient Express is just as much a character, and Branagh and his team explore much of its exotic structure in considerable detail throughout the film.

World-building plays a significant part in Murder on the Orient Express and Branagh and his team take audiences back to the by-gone era of the early 1930s. This world is informed by elegance and glamour and Branagh shows all of it up on screen. The set-building and production design of Jim Clay recreates the first class decadence of travelling on the Orient Express and every detail is catered to perfectly, from the placement of the most delicate antique furniture to ample servings of champagne and the finest gourmet dining options. Murder on the Orient Express is a piece of cinema that most definitely sets your senses on fire, and you can’t help but imagine yourself seated on this grand train.

The film also excels thanks to its stunning costuming, which have been provided by Academy Award Winning costume designer Alexandra Byrne, who captures the exquisite first-class lifestyle of the film’s principal characters. There’s an ample supply of jewellery, flowing dresses, fine suits and exotic furs. Both the ladies and gentlemen aboard the Orient Express are decked out in the most stunning costumes and I must give credit to Byrne for her realisation of Branagh’s Poirot with his distinctive three-piece suits and antique cane, the lavish ballroom dresses of Michelle Pfieffer’s Caroline Hubbard and the completely chic gangster attire of Johnny Depp’s Edward Ratchett, who is clad in bold double-breasted power suits and wears the ultimate fur coat.

All of these things bring you further into the world of Murder on the Orient Express and make for an exciting and completely mesmerising time up-on screen.

Branagh most definitely stands out as the arrogant, analytical, and obessesive compulsive Hercule Poirot, whose obsession with minute details borders on the notion of crazy and who sports one hell of a moustache. While I myself had never read any of Agatha Christie’s works before I saw Murder on the Orient Express, I was still familiar with the character of Poirot and from what I know of the grand detective, Branagh hit the nail on the head. His deductive manner and minute observations were in perfect keeping with the character, and you could tell that he was enjoying himself immensely as this debonair fellow. And that moustache, my god, it was unbelievably impressive and is worth the price of admission alone!

The film’s bolder casting was equally impressive with a staple of magnificent performances from all the supporting players involved. But there are a few of them that I need to call out, starting with Depp’s despicable gangster Ratchett. Depp plays the villain well, and here his slimy manner shines through as a cocky up-start who now finds himself in trouble. What was enjoyable was that as Ratchett, Depp obviously enjoyed being the bad guy, and this of-course shone through in his performance. Michelle Pfieffer’s widowed Caroline Hubbard brings plenty of refined elegance, as well as an unabashed seductiveness that she throws towards Poirot, for plenty of uncomfortable humour. Then there’s Josh Gad as the bullied, and horrendously uptight Hector McQueen, who has found himself as Ratchett’s assistant and whose behaviour makes him an instant suspect. Leslie Odom Jr. brings a sense of refinement as the learned Dr Arbuthnot and has no qualms about getting in Poirot’s face, while, finally, Daisy Ridley is in ingenue form as former governess Mary Debenham who’s sweet and inquisitive exterior hides an agenda all her own.

If you’re wanting a whodunnit. Then well, you’ve found it. Branagh provides plenty of suspense for his audience and shifts the suspicion around the diverse group of characters. Whenever you think you’ve found the murderer, the emphasis shifts and another suspect, even more guilty shows up. Branagh keeps his audience guessing and uses Poirot’s distinctive deductive reasoning to find his murderer. There’s no CSI here, just a detective with one hell of an intellect and a commitment to that of unshakeable justice. At times you’ll find yourself on a knife’s edge, and that’s exactly where Branagh wants you.

I hold by my words when I say you will not see the ending coming, and the shock, along with Branagh’s care for this grand story leaves you wanting more. As a standalone suspense epic, Murder on the Orient Express holds its ground, and I myself would love to see Branagh explore this fabled character further in successive sequels. So buy your ticket, and take your seat, because the shocks come quick and sharp with Murder on the Orient Express….and you won’t want to miss out on them.

Image: 20th Century Fox

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Master filmmaker Christopher Nolan is returning to the big screen with the phenomenal true story of courage in the face of overwhelming odds with Dunkirk.

The new trailer has just been released, and is a completely mesmerising watch. Check it out below:

Here’s the official synopsis:

May 1940. The British Army and their Allies find themselves surrounded on the edge of the French Peninsula under threat of annihilation by the German Wehrmacht. With mounting casualties, a miraculous operation codenamed Dynamo is utilised and everything from warships to motorboats is used to get the troops back home safely.

Joining Nolan in this courageous story is a group of Britain’s best performers including Sir Kenneth Branagh, Tom Hardy, Cillian Murphy, Sir Mark Rylance, James D’Arcy and Harry Styles.

Dunkirk will be released in cinemas on July 20 in New Zealand and Australia, and on July 21 in the US and UK.

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