About the film (courtesy of 20th Century Studios):
Belgian sleuth Hercule Poirot’s Egyptian vacation aboard a glamorous river steamer turns into a terrifying search for a murderer when a picture-perfect couple’s idyllic honeymoon is tragically cut short. Set against an epic landscape of sweeping desert vistas and the majestic Giza pyramids, this tale of unbridled passion and incapacitating jealousy features a cosmopolitan group of impeccably dressed travelers, and enough wicked twists and turns to leave audiences guessing until the final, shocking denouement.
Kenneth Branagh once again dons the signature moustache as Hercule Poirot and finds himself back in a spot where he always seems to be, unraveling a deadly mystery. Death on the Nile reunites audiences with the brilliant, overly theatrical sleuth as he follows clues leading up to another big reveal. Joining Branagh on his latest journey are Gal Gadot, Armie Hammer, Tom Bateman, Annette Bening, Russell Brand, Ali Fazal, Dawn French, Rose Leslie, Emma Mackey, Sophie Okonedo, Jennifer Saunders, and Letitia Wright.
In the sequel to the successful Murder on the Orient Express (2017), audiences are treated a bit of a backstory of Poirot which offers some decent insight on why is the way that he is; attentive to all the details, very peculiar and overly theatrical. The man behind the moustache is nothing short of a genius and that rubs some the wrong way. All-in-all, his quirkiness is what will endear him to audiences. And maybe it’s just me, but Death on the Nile feels like it embraces a bit more of lighter side of things at times.
I’m sure it’s no walk in the park to be the acting lead as well as wearing the director’s hat, but it’s pretty evident that Agatha Christie’s novels hold a special place in Branagh’s heart. It seems as though Branagh wanted to capture ever nuance of what makes Hercule Poirot tick and he does the same for all of the supporting cast.
As with most ensemble cast-led works, there’s not a lot of focus on one character (except Poirot, of course). In order to flesh out each one of these characters, time must be invested to allow audiences to get on the same page as what’s in Branagh’s head. Death on the Nile weighs in at 127 minutes, and in the grand scheme of things, it’s actually shorter than I was expecting. I imagine that editing was a chore in attempts to stay rich details without risking overstaying ones welcome. The pace of this film is pretty consistent, albeit a bit slower than I’d prefer.
As for the acting performances, everyone stays in their lanes and doesn’t try to do too much. There’s zero doubt though, Hercule Poirot is the one constant in which everyone else revolves around. It’s fun to watch the wheels turning as he processes what’s going on and comes to his colorful conclusions. Branagh definitely does Agatha Christie’s novels justice in these remakes. Whether you’re familiar with the written works/previous theatrical versions or not, Death on the Nile holds its own water.
My only real issue with Death on the Nile is that the green screen work seemed a bit “off” for my liking. Other than that though, get ready for a detail driven, slow-burn murder mystery without a lot of frills. Not necessarily the date night Valentine’s Day weekend movie that you’d ultimately target, but for those seeking this type a feature, there is a good deal of entertainment value to be had. In theaters everywhere right now.
