Kenneth Branagh’s second feature of the month after the Oscar nominated Belfast, sees him return to the role of master sleuth Hercule Poirot.
As with his previous Agatha Christie adaptation, 2017’s Murder on the Orient Express, Branagh stars and also directs a script by screenwriter Michael Green.
Again assembling a star studded cast, the ensemble includes Gal Gadot, Annette Benning, Russell Brand and British comedy stalwarts French and Saunders.
Whilst in a diversion for the original novel, Tom Bateman returns from the previous film as Poirot’s friend Moussier Bouc.
After a string of contractual and covid related delays, promotion for the film was complicated further by the inclusion of actor Armie Hammer. Taking on the key role of Simon Doyle, the actor was accused of sexual misconduct by an ex girlfriend after filming had wrapped, making marketing for the film problematic.
The story follows Poirot as his holiday aboard a luxurious river steamer turns into a hunt for a killer, when a newly wed couple’s honeymoon is tragically cut short by murder.
To say that almost seems like a spoiler as Branagh takes an age to set the scene and introduce the characters. The film begins with a WW1 set prologue and a wholly unnecessary origin story for the detectives famous handle bar moustache, and it’s almost an hour into proceedings before any actual murder takes place.
An endless parade of characters are introduced, all with highly plausible motives, but it quickly becomes tiresome and will leave the audience longing for bloodshed.
Once again Branagh’s Poirot is an endearing lead, his comical quips add a touch lightness to the film’s deadly serious tone, but the strange casting of comedians Russell Brand and French and Saunders, in completely straight roles, is a complete waste of their comic talent.
British actress and former Oscar Nominee Sophie Okinado is far more believable as Jazz Singer Salome Otterbourne, whilst Emma Mackey’s performance as scorned lover Jacqueline de Belfort is by far the most engaging of the ensemble.
Once the first body hits the floor the pace picks up considerably and results in a markedly more enjoyable final act, even if fans of whodunnits will see the final twist coming a mile off.
Overall, Death on the Nile misses the mark. Given the array of talent on show, this entry into the Poirot cinematic cannon is a rather flat and underwhelming experience.
⭐️⭐️
Paul Steward
@Grittster
21/2/22