An Agatha Christie adaptation isn’t likely to be something I’ll easily not see. However when delay after delay plagued Death on the Nile (2022), one did have to pose the question, will we ever see this 1930s drama?
Death on the Nile (2022) Film Review
Fame and popularity is something detective Hercule Poirot (Kenneth Branagh) knows well. His fame is global and opens multiple doors to him. Tonight it’s in a club with the best of service and the flash of bulbs to greet his arrival. He has a front seat to a bit of drama when one couple, Simon Doyle (Armie Hammer) and Jacqueline de Bellefort (Emma Mackey), heat up the dance floor. Into this club walks the wealthy celebrity heiress Linnet Ridgeway (Gal Gadot).
Six weeks later as Poirot is in Egypt, he serendipitously meets his old pal Bouc (Tom Bateman). Inviting Poirot to join the party he and his mother (Annette Benning) are a part of, Poirot again has a front row seat to more drama. This time to that of the newly married Simon and Linnet and the arrival of Simon’s ex lover, Jacqueline. When a series of unpleasant events lead up to murder, the suspect list begins to grow including Linnet’s godmother Marie (Jennifer Saunders); the ill treated maid Louise (Rose Leslie); an ex-lover and wealthy titled gentleman named Windlesham (Russell Brand); and an old school mate, Rosalie (Letitia Wright).
The list of suspects for this murder case is as long as, of course, the impressive cast list is. The only returning faces are Bateman, and Branagh who immortalizes this version of Poirot in the adaptation of Murder on the Orient Express. This is an entirely new cast, and everyone is, as usual, good. Including those I didn’t make room above. However like its predecessor if there’s one flaw, it’s the length.
Serving as both the face of the franchise and director, I do have to admit some of the set ups are good. They’re interesting and really help to heighten the mystery (like the final kind of reveal scene which I thought was really good). Similarly this is true of the introduction of Gadot’s Linnet, too. The film is beautiful to look at nonetheless not only with the period costumes but also the framework of the setting too. Everything does what its meant to whether that’s to inspire awe, romance, danger, curiosity or mystery. The settings is a big part of this, and I appreciate it all.‘DEATH ON THE NILE’: THE AGATHA CHRISTE ANTICIPATED GRAND MYSTERY MAKES DEBUT #AGATHACHRISTIE #MYSTERY #GALGADOT #ARMIEHAMMER #ADAPTATION #PERIODDRAMA #MOVIES #KENNETHBRANAGH #HERCULEPOIROT #POIROT Click To Tweet
The more interesting thing about the film isn’t its plot, which is actually (sorry!) pretty weak. You can figure it out long before the big reveal although honestly, it’s still interesting to see Poirot walk through it. More compelling is the personalizing of the film and Poirot’s story. The film comes full circle after its unexpected setup. The end also plays an important part. It’s not some kind of explosive ending but it’s about the fleeting nature of fame or vanity and how it shifts the entire perspective. Sad but also a true reality of life. Another emotion the film leaves in tatters is love. The way things end makes this feel like we may not see more of this version of Poirot. At the same time, anything is possible.
You can find Death on the Nile (2022), at publication, with Hulu.
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Content: there are about three visually sexual scenes. Two being dances (lots of sexual movement, touching/caressing, suggestive positions, legs entwined) and another is between a married couple that is interrupted; all remain clothed. The body count rises to about five; some of which are by suicide. The visualization of the murders isn’t overly graphic but if murder mysteries aren’t your thing, this film likely isn’t for you. Some profanity likely creeps in here and there. There’s a same sex relationship revealed towards the end. The film is PG-13.
Photos: 20th Century Fox