Death on the Nile (2022) Review
“Oh darling, you’ve got it bad!”
With Kenneth Branagh’s second adaptation in his AGATHA CHRISTIE CINEMATIC UNIVERSE – he successfully manages to craft an adventurous murder mystery truly reminiscent of what the genre has always encompassed. Though suffering from some shoddy CGI and a peculiar assortment of acting choices – the film feels like a purposefully campy delight that, at its best, manages to find a delightful tonal balance within its more “serious” narrative beats.
Granted – if any film opens with a cheeky mustache origin story, it will have peaked my interest. And, in turn, framing the film around world-class detective Hercule Poirot’s relationship with his own psyche adds for intrigue beyond the surface of the narrative; even if the context seems goofy in itself.
Hercule Poirot is taking in the sights of Egypt when he runs into his old friend Douc (Tom Bateman) and his mother Euphemia (Annette Bening) on their way to celebrate the honeymoon of heiress Linnette Ridgeway (Gal Gadot) and Simon Doyle (Armie Hammer) aboard a grand ship on the Nile. Poirot tags along and meets the rest of the attendees – including a doctor, jazz singer, Linnette’s communist godmother, and more; each playing their crafted role in this whole affair. Though some serve a greater purpose within the narrative than others, it feels familiar to to get acquainted with a of a variety of characters when it comes to such a classic murder mystery as this. Branagh relishes in the “classic” feeling of the genre itself – never attempting to be anything greater than it is; or subvert audience expectations for that matter. And, in return, delivers a murder-mystery that feels entertaining yet satisfying in its own confident familiarity. Where Knives Out arguably pushes what the genre can offer, A Death on the Nile proves why this genre can be so engaging in the first place.
There are large-scale shots that look incredibly flat; especially with some of the exterior set design for the crypts coupled with muddy CGI backgrounds. In contrast though – when Branagh shoots smaller scale interactions, he utilizes some dynamic blocking that feels more stylish than your average blockbuster. The result is a mixed bag in terms of aesthetics but the whimsical tale at heart keeps the momentum going till the end.
Where Murder on the Orient Express failed to grip me, even with an arguably stronger cast, Death on the Nile feels more playful, focused, and even stylish in nature. Branagh manages to keep Poirot at the film’s thematic core – without losing sight of the levity of the mystery itself; striking a fine balance that, by the final shot, had me impressed by the director’s reservations this time around. Though some may be put off by “meme-worthy” moments or the muddy coat of blockbuster special effects that occasionally encapsulates the screen – the film remains an engaging and entertaining watch. It doesn’t manage to reinvent the wheel but it’s quite clear Branagh isn’t going for that here; opting for a familiar yet amusing ride.
