In 1931, renowned mystery writer Agatha Christie was traveling on the Orient Express when a flash flood suddenly washed away the track. The passengers were stranded while repairs were made. This was not the first time the Orient Express had been stranded; two years earlier a blizzard had halted the train for six days. While other passengers fumed, Christie began to muse: “What a delicious location for a murder!” The setting for Murder on the Orient Express was established. Now she just needed a plot.

Christie wrote 66 murder mysteries and 14 short story collections in her lifetime, as well as a handful of romance novels and the longest continuously running play in London (The Mousetrap). Most of her mysteries are solved by the eccentric Belgian super-sleuth Hercule Poirot or the no-nonsense matron-next-door, Miss Jane Marple. Her novels have sold an estimated two billion copies, and have been translated into a record 103 languages. She remains one of the world’s best loved novelists.

Murder on the Orient Express works especially well for film because of its closed set (it takes place almost entirely on a train car) and its large cast of suspects. You may have seen the 1974 version, for which Ingrid Bergman won an Oscar, and wonder: do we really need another? Perhaps “need” is the wrong word for any entertainment. Is it worth seeing this version? Yes, indeed.

Even if you’ve already seen it, you haven’t seen this one, directed by Kenneth Branaugh, who also plays the detective Poirot. For one thing, you probably don’t remember who did it. In Christie’s stories, any one could have been the killer, and the identity is often forgotten shortly after reading most of them. The enjoyment of an Agatha Christie doesn’t come so much from figuring out who done it or how it was done, as from understanding what might drive someone to commit murder—and for a short time, finding ourselves in sympathy with a killer. From that standpoint, Murder on the Orient Express could as easily have been called “A Jury of One’s Peers.”

The story is simple: a group of seemingly unconnected people will be traveling together from Istanbul to Paris. Each has a reason for needing to arrive on time. Each is harboring a private grief. Each grief will be uncovered by Poirot. And one of them will be killed. But who is the murderer? Branaugh puts enough of his own stamp on this film that I didn’t feel as though I was watching a remake; in fact, I was caught up in the hunt to discover who did it, and why.

Filmed in New Zealand and Switzerland, the movie is beautifully rendered, especially the long wide views of snow-covered mountains and cloudy, luminescent skies. It almost feels as though the train is barreling through a Thomas Kincaid painting. Early scenes in Jerusalem, where Poirot is winding up a previous case before boarding the train, are filmed at odd angles, emphasizing Poirot’s odd way of seeing the world. Poirot’s unconscious and unintended gift for accidental for comedy is well served by Branaugh, whose Poirot is a bit more physical and more emotional than we normally see him.

The cast of suspects includes such notable actors as Daisy Ridley, Leslie Odom, Jr., Penelope Cruz, Josh Gad, Johnny Depp, Michelle Pfeiffer, Derek Jacobi, Willem Defoe, and Dame Judi Densch. Josh Gad, usually cast in silly comedic roles, is surprisingly good in his first truly dramatic turn. Even Emma Thompson, Branaugh’s former wife, who has appeared in many of his films, makes a cameo appearance in this one. That’s a very young photo of her in the picture frame Poirot keeps by his bedside.

The scene of Poirot’s denouement is especially provocative, as the characters are blocked and staged in a way that emphasizes the ultimate theme of the story. I won’t say more here, but watch for it. You’ll know what I mean when you see it.

Murder on the Orient Express evokes the glamour days of drawing room murders populated by characters with impeccable manners camouflaging their sharp claws. Its landscapes through the Alps and exterior scenes in Jerusalem are breathtaking. Don’t wait for Netflix—this is one you’ll want to see in a theater. And see it on IMAX if you can.

Murder on the Orient Express, directed by Kenneth Branaugh. Twentieth Century Fox (2017) 114 minutes.

Jo Ann Skousen teaches English literature at Chapman University and is the founding director of the Anthem Film Festival. She can be reached at jskousen@anthemfilmfestival.com For information, go to www.anthemfilmfestival.com