Death on the Nile (2022) Movie Review

"Death on the Nile" is a new adaptation of Agatha Christie's murder mystery, directed by Kenneth Branagh, who also stars as the legendary detective Hercule Poirot. The film is a follow-up to Branagh's 2017 "Murder on the Orient Express," and features an impressive cast, including Armie Hammer and Gal Gadot. While the champagne is sparkling, the wood decks are gleaming, and the white linens are pressed to a crisp, the journey for the audience is not quite as much escapist fun as it should be.

Branagh and screenwriter Michael Green return to bring another one of Christie's famous detective stories to life, but there is a distracting detachment at work here, both in the visual effects and performances. While individual moments from supporting players bring the film to life only sporadically, Branagh's A-list stars are both oddly stiff and have zero romantic chemistry with each other. Hammer has also been plagued with off-screen problems, making his presence in the film unsettling.

Green has made some tweaks to the screenplay, which provide some welcome diversity; Sophie Okonedo and Letitia Wright are the primary standouts among the ensemble cast. However, it takes an awfully long time for the proceedings to get going and the tension to begin mounting. Branagh and Green's cleverest and most compelling move is the flashback they've attached at the start: a striking, black-and-white depiction of the young Poirot in the trenches of World War I, where he demonstrates the resourcefulness and sharp wit that will become his trademarks. A convincingly de-aged Branagh also allows us to witness the origin story of Poirot's signature mustache, which launches the film on a note of shock and heartbreak.

The film jumps ahead to 1937 London, where we see the established and adored Poirot entering a packed and jumping blues club, where Salome Otterbourne (Okonedo) is performing on stage. Her niece, Rosalie Otterbourne (Wright), is also her tough-as-nails manager. Simon Doyle (Hammer) and his fiancée, Jacqueline de Bellefort (Emma Mackey), are tearing it up with an erotic, acrobatic dance on the floor. However, seeing Hammer introduced this way, in such an aggressively physical and sexual manner, makes it impossible to ignore the allegations of assault and abuse that several women have made against the actor.

Once Jacqueline introduces Simon to the ravishing heiress Linnet Ridgeway (Gadot), he only has eyes for her. This is where Branagh's choice to shoot in 65mm is particularly effective. Gadot's entrance into the smoky club, in a drapey, metallic silver gown, is so dreamy and creamy, it's richer in fantasy and escape than anything that happens later on the boat. In no time, Simon and Linnet are married, and Poirot finds himself swept up in their tony honeymoon celebration on the Nile while vacationing in Egypt.

He's there at the insistence of his charming, old friend Bouc (Tom Bateman, reprising his “Orient Express” role), whose wealthy, painter mother, Euphemia (Annette Bening), has come along for the adventure. Also aboard the SS Karnak are Linnet's lawyer/cousin Katchadourian (Ali Fazal), her ex-fiancé (Russell Brand), her personal maid (Rose Leslie), and her godmother with her traveling nurse. The longtime comedy duo of Jennifer Saunders and Dawn French also make an appearance.

Branagh’s filmmaking remains impressive, as always. He creates a sumptuous visual palette that’s a feast for the eyes, particularly when the action moves from the train to the ship. The Nile itself becomes a key character, as Branagh uses the surrounding scenery and the evocative score from Patrick Doyle to create an atmosphere of heightened tension and danger. The murder scene, which takes place during a fireworks display, is particularly well-done, with Branagh using the dazzling colors and flashes to create an unforgettable sequence.

But ultimately, “Death on the Nile” falls short of its predecessor. The film lacks the urgency and energy that made “Murder on the Orient Express” so much fun, and the character development is thin. There are some bright spots, particularly in Okonedo’s and Wright’s performances, and the flashbacks to Poirot’s past add some depth to the character. But the love triangle at the center of the film is weak, and the mystery itself is not particularly engaging.

In conclusion, “Death on the Nile” is a visually stunning film that’s ultimately let down by a lackluster script and underdeveloped characters. Branagh’s direction and the performances of some of the supporting players provide some bright spots, but the film never quite comes together as a cohesive whole. Fans of Agatha Christie and Branagh’s previous work may still find some enjoyment in “Death on the Nile,” but for everyone else, it’s a forgettable and disappointing entry in the mystery genre.