Cinematic Releases: Death on the Nile (2022) - Reviewed

Courtesy of 20th Century Studios

It’s no doubt by now to anyone that writer-director-actor Kenneth Branagh loves the character of Belgian detective Hercule Poirot, the mythical stoic world-renowned detective made famous by Agatha Christie’s murder mystery novels.  While both his remake of Murder on the Orient Express in 2017 followed by his long awaited and much delayed Death on the Nile (shot in 2019 but postponed until now due to COVID-19) are ostensibly whodunit detective crime stories, they’re mostly character studies of the mercurial and indefatigable Hercule Poirot who comes onscreen exuding debonair gentlemanly manners before gradually shedding his skin and revealing his true detective colors. 

 
An ensemble piece loaded with a gifted cast including but not limited to Gal Gadot, Armie Hammer, Russell Brand, Annette Bening and Letitia Wright, the film is a grandiose and scenic Egyptian set travelogue on the Nile in a luxurious river steamer that takes its time setting up the characters while dropping suspicions.  Mid-trip however it transforms into a tense murder mystery thriller with the legendary Poirot rising to the occasion to try and identify the killer before more bodies fall and the film keeps you guessing on your toes until its thrilling and nerve-wracking conclusion.
 
Though it takes its sweet old time to work up to the actual conflict of the film, giving viewers as much luxurious bacchanal as Ridley Scott’s recently released fashionista epic House of Gucci, the film presents such a charming and interesting cavalcade of colorful characters all lensed through Branagh’s expert command of the medium that we’re smitten by these wealthy vacationers.  Showing off the stunning locale of the Egyptian as well as Moroccan countryside, lensed gorgeously in 65mmm by Haris Zambarloukos, the film is absolutely breathtaking from top to bottom to see.  Utilizing the same technology as the previous installment in what appears to be a continuing Hercule Poiroit/Kenneth Branagh film series, both films managed to receive limited 70mm print pressings for those keen on getting every cent of minutiae onscreen.

 
Also reuniting with the director is composer Patrick Doyle who gives the proceedings a whimsical flavor, almost like a vacation spot, before the notes and tone start turning dark.  Even after the film has ended, the soundtrack says the tense journeys of Hercule Poirot are only just getting started.  Performances across the board are fantastic with Gal Gadot giving a career best performance and Annette Bening doing the spitfire with almost cantankerous relish.  Armie Hammer does his best feigning a European accent and Russell Brand probably gives his most distinguished performance yet.  Of course the one steering this ship (no pun intended) is Mr. Branagh who both in front of and behind the camera has even with his hits and misses throughout his career has clearly established himself as a master filmmaker at the top of his technical and actor’s director prowess.

 
The question on everyone’s minds will be how this stacks up to the previous film and I must say it’s a continuation in the same vein with some of the same character actors showing up from the previous film.  On its own terms Branagh’s take on Death on the Nile is a splendid and spectacular big screen entertainment made with the care and precision of the heyday of Super Panavision and Todd AO filmmaking, where the cameras captured so much detail and nuance in the image you can’t take your eyes off it.  While, yes, another remake of Agatha Christie’s novel of the same name, this is as much a fresh coat of paint on the classic detective thriller as it is an extension of Branagh’s love for the contemporary period piece.  Between this and Belfast, Branagh has struck another home run.

--Andrew Kotwicki