'Death On The Nile' Review: A Long-Awaited Sequel That May Leave Audiences Seasick
The long-awaited sequel, unlike its far superior predecessor, doesn’t know how to have any fun with its whodunnit story.
The long-delayed follow-up to director Kenneth Branagh’s revitalization of ‘Murder On The Orient Express’ has finally arrived in theaters., and once again, ‘Death On The Nile’, (also based on one of beloved author Agatha Christie’s novels), finds investigator Hercule Poirot delving into a new case. While on vacation on the Nile, a young heiress is murdered in cold blood. Following in the footsteps of its predecessor, the film boasts an impressive cast that includes the talents of Annette Bening, Russell Brand, Emma Mackey, Letitia Wright, Armie Hammer, Gal Gadot, Rose Leslie, Tom Bateman, and of course Branagh returning to the role of Poirot.
One of the more disappointing aspects of the film, however, are the dizzying differences in the quality of performances from this talented cast. Mackey and Branagh are easily the standouts, both knowing exactly what film they’re in, dialing up the ham and intensity when truly needed. Unfortunately, the performances from the rest of the cast are frustratingly inconsistent, vacillating between deadly serious and over the top, not to mention different accents that simply don’t work.
This is a whodunnit that doesn’t remember to have fun with its deliciously dark premise. Branagh’s first film, though ultimately forgettable, had a much better grip on tone, not taking itself too seriously, while still giving the central murder and mystery the gravitas it deserved. This sequel feels lifeless and joyless, the pacing equivalent to that of stop-and-go traffic, even the whodunnit aspect of the story failing to deliver the goods audiences would hope to expect. The film’s big twist and reveal even fails to impress, telegraphing the surprise from about 50 miles away, making the journey through the film feel especially pointless. Oh, and don’t get me started on the unnecessary and distractingly poor CGI and green screen work on display.
Fortunately, the film isn’t entirely without its merits. Branagh is a talented director, his films always looking clean, crisp, and steadily helmed, (perhaps aside from ‘Artemis Fowl’). The visual aesthetic of the film is sumptuous and inviting, the Nile setting a perfect contrast to the dark and horrid murder that takes place on its waters. Poirot also remains a delightful character to watch, especially as he begins his investigation and his interviews with suspects become increasingly more intense and emotional. Branagh’s comedic timing remains sharp and his dramatic prowess, particularly when the mystery hits its boiling point, is as potent as ever. The audience also learns more about the revered character through flashbacks that add new introspection and layers to an already fascinating character.
Death On The Nile could’ve been a grimly seductive piece of entertainment, but it never fully takes flight off the runway. Despite some strong direction and a handful of solid performances, this murder mystery fails to thrill or surprise in any way. If a third installment is given the green-light, though doubtful considering its lofty budget, Poirot deserves a better film and story at its center that reminds audiences why this character and his cases have stood the test of time.