Pleasantly surprised, I believe, is a good description of my feeling after watching Kenneth Branagh’s (Henry V) latest take on Agatha Christie’s 1937 whodunit. The new Death on the Nile is a sequel to his 2017 Murder on the Orient Express with Branagh returning to both direct and again portray Christie’s supreme detective Hercule Poirot: this time he’s sleuthing on a boat instead of a train. Branagh’s Orient Express (2017) was a true yawner. Google “disappointingly dull” and you’ll get a link to a trailer for Murder on the Orient Express—go ahead, try it… it’ll be right at the top. So, maybe Branagh just got better with practice, or maybe it was the presence of Ridley Scott as a producer of this film, but Death on the Nile is much better, more attractive, better paced, sharper, snappier, crisper than its prequel; and the surprising result was a satisfying Tuesday afternoon at the theater.
For all settings… including sailing vessels, the Agatha Christie murder-mystery formula is constant—assemble a diverse group with members connected by at least one of the seven cardinal sins, then kill somebody and let the fun begin. This time our potential murderers and victims are gathered to celebrate the marriage of the wealthy and beautiful Linnet Ridgeway (Gal Gadot, aka Wonder Woman) to the handsome but jobless Simon Doyle (Armie Hammer). Riches and beauty are usually surrounded by jealousy and greed and the Nile wedding party is chuck full of both—it’s not long after the group embarks on their river cruise that folks start to drop dead. Fortunately for all, Hercule Poirot is on board. Branagh sparkles in his portrayal of the eccentric Belgian super sleuth and his subtle deductions and ruthless examinations of those he suspects… which is everyone. The other pieces in this cloak-and-dagger are also well played with standout performances by a nigh-unrecognizable Annette Benning as a wealthy artist and family friend of the bride, and from newer-comer Emma Mackey (Netflix’ Sex Education) as the obligatory women scorned. Motives mount and suspicions shift and turn, but it’s never clear to you, until the bitter end, who is killing whom… unless you’ve read the book or have seen one the myriad previous screen depictions, or you overhear some yahoo in the seat in front of you who has done one or the other give the killer away to his wife while noshing popcorn… come on!
Poirot is possibly Christie's most famous character. He is certainly the longest running, appearing in more than 30 of her novels. But the fictitious detective himself has always been a bit of mystery—Christie did not spend much time on his origin. Gratefully, and with great benefit to the film, Michael Green’s screenplay gives a bit of a back story—a glimpse at a pivot point in Poirot’s life that has, in part, shaped him into the genius but emotionally dethatched crime solver that he is. The reveal is effectively leveraged throughout the film providing heart to Poirot’s cold path to solving the mystery of Death on the Nile and to Poirot himself. Such value add-on’s do not make Death on the Nile any sort of award winner—and I doubt that was what the film’s creators were shooting for here. But the film is nicely put together and entertaining. You may forget the experience quickly, but you’ll enjoy the few hours of mystery while you’re in it. Death on the Nile gets 6.5 out of 10.
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