Death on the Nile (2022) Review!!

Synopsis – While on vacation on the Nile, Hercule Poirot must investigate the murder of a young heiress.

My Take – Released in 2017, Murder on the Orient Express, director-actor Kenneth Branagh‘s adaption of Agatha Christie’s best-known novel, was pleasant enough but unremarkable experience, that managed to surprise everyone by creating enough buzz to garner $352 million worldwide on a $55 million budget.

Unsurprisingly, a follow up was quickly announced placing Branagh once again behind the camera and in the front as the mustachioed Belgian super-sleuth, Hercule Poirot. What no one expected was the amount of time it would take to hit the screens.

Suffering an abundance of release setbacks beginning with 2019, and all through 2020 and 2021, due to the COVID-19 pandemic. Meanwhile the film’s stars like alleged anti-vaxxer Letitia Wright, exiled sex cannibal Armie Hammer, and Gal Gadot (due to her tendentious stance on the Israel-Palestine conflict), only added more hurt to injury.

Considering all that it’s nothing short of a miracle that director Branagh’s lush take on the old-fashioned material actually entertains. Although the star power this time isn’t quite at the level its predecessor, the sequel, which is once again written by Michael Green, is a definite step up that really works as a thrilling throwback as it finds sorrow and solemnity in swoon-worthy sunsets of an artificial Egypt.

The sequel is not only darker and sharper but director Branagh himself feels and looks more in tune with his interpretation for the world of Christie and Hercule Poirot than ever, and makes a prime example of an engaging murder mystery that hits all the expected but right beats.

Set in 1937, the story once again follows Hercule Poirot (Kenneth Branagh), a world-renowned private detective and former policeman, who while vacationing in Egypt stumbles upon his friend Bouc (Tom Bateman) who invites him to join in on the festivities of the fabulously wealthy Linnet Ridgeway (Gal Gadot) and her new husband, Simon Doyle (Armie Hammer) on the S.S. Karnak, a pleasure barge that will take them through eastern Africa for several days of indulgent partying.

Others accompanying the happy couple include Bouc’s overbearing mother, Euphemia (Annette Bening), the dynamic jazz singer Salome Otterbourne (Sophie Okonedo), Salome’s niece and business manager, Rosalie (Letitia Wright), who is also Linnet’s old classmate, Linnet’s dedicated French maid Louise (Rose Leslie), Linnet’s sour-faced former fiancé Linus Windlesham (Russell Brand), Linnet’s seemingly shifty cousin and lawyer Andrew Katchadourian (Ali Fazal), and Linnet’s cantankerous champagne socialist godmother Marie Van Schuyler (Jennifer Saunders), who is waited on hand-and-foot by her nurse, Mrs. Bowers (Dawn French).

In addition, there is the uninvited jealous-crazed ex Jacqueline “Jackie” de Bellefort (Emma Mackey), Linnet’s former best-friend who Simon was with until six weeks ago, and now has become an unshakable specter at the celebrations.

But when a murder occurs, Poirot finds himself back to work yet again. With a boat full of suspects in a confined space, Poirot is determined to find the culprit before they strike again. And like every good mystery, just about everyone is acting suspicious and has a motive.

Largely faithful to Christie’s novel, director Branagh’s adaptation is set up a grand, old-fashioned Hollywood production with extravagant sets and a welcome touch of melodrama. All the while offering sophistication in storytelling, textured characters, and a consistent melancholic tone to bring it into continuity with the previous film.

Over complicated schemes and clues are dutifully laid out, and on occasion, as in one scene involving the boat’s side wheel, with Hitchcock-worthy visuals.

Branagh’s direction is also more dynamic this time around, with a supreme sense of space that completely captures the climate of wherever the action is taking place and makes full use of his stars’ surroundings to magnify the mystery at hand and amplify the anxiety brought on the case being considered.

The main mystery itself is also decently compelling, with several shocking twists and turns audiences won’t see coming, however, what surprised me most was how director Branagh and screenwriter Michael Green play fast and loose with its structure, bringing in the murder mystery element almost halfway through, all in order to set up a much more intimate story.

Sure, the tactic doesn’t completely work and affects the pacing in the first hour, but once it kicks in, it leads to a surprisingly intense second half. And while the finale felt a tad rushed, director Branagh and screenwriter Michael Green deserve praise for doing their best to keep you in guessing game.

This film’s only real weakness in comparison to its predecessor is the character developments. As this one is aiming towards a personal story for Poirot, the rest of the ensemble cast kind of feels left out, with the film only skimming the surface of each respective personality.

Performance wise, Kenneth Branagh is a joy to watch as Poirot and brings a more muted turn to the lead role this time around. Sophie Okonedo isn’t far behind Branagh though, suffusing her seductive blues singer with an enticing energy that piques the interest of both Poirot and the audience. Gal Gadot exudes enthralling movie star charisma while Emma Mackey is ferociously entertaining as her foil. Tom Bateman makes for a welcome return, while Annette Bening splendidly chews the scenery as his mother.

Ali Fazal does ample justice to his character, Russell Brand is a standout in his against type casting, while Rose Leslie and Letitia Wright likewise leave a good impression. Jennifer Saunders and Dawn French also make for a delightful pair.

Then comes the particular case of Armie Hammer, no doubt talented but now the face of a horrible controversy. This fact shouldn’t cloud his performance, but it is difficult not to think about it while watching it. Indeed he is good in his role, but his real-life situation does hurt the film more than it should. On the whole, ‘Death on the Nile’ is a classic old fashioned whodunit with enough captivating drama and twists to keep fans of the genre engaged.