Movie Review: Death Of The Nile
Mystery thrillers and whodunit comedy films have been known to entice cinema lovers for decades. Nowadays however, rather than asking who the murderer is, audience members end up asking whether these films have run their course and can still be fresh and entertaining. With the release of Kenneth Branagh’s “Death on the Nile,” I endorse the fact that, if done properly, films in the genre can still bring something new to the table and have potential to stand as cinematic masterpieces.
Having a detective that the audience can root for and solve the mystery with, while bringing in popular actors as supporting cast members, have remained as staples of the genre, and yet, these films continue to experiment with structure and plot points to avoid cliches.
This is especially true of “Death on the Nile,” which serves as a sequel to Branagh’s “Murder on the Orient Express” of 2017. The cast is packed with A-list actors and actresses including Gal Gadot, Armie Hammer, Letitia Wright, Emma Mackey, Tom Bateman and many more.
The Bulwark’s Sonny Bunch commented, “I quite enjoyed ‘Death on the Nile,’ and most of the credit has to go to the cast.”
“Death on the Nile” follows detective Hercule Poirot (Kenneth Branagh) whose vacation in Egypt is interrupted when a young couple encounter danger during their honeymoon cruise on the Nile River. Soon, this is no longer a fear but a reality when someone is murdered among the passengers and party guests. With gorgeous cinematography and a brilliant soundtrack by Patrick Doyle, a thrilling chase ensues to solve the mystery of passion and romance before arriving at port.
I found this film to be a feast for both the eyes and ears as the score weaves between stunning shots and visuals, not to be outdone by the fantastic performances, which proves that the majority of the “Death on the Nile” production was handled with copious amounts of care and skill.
Unfortunately, it appears to me that the resolution of the mystery and the script never received the same treatment. While the climax promises a pleasing ending, I found it a bit lackluster and dry of a satisfying conclusion, and the script feels a bit rushed in some key moments of conflict.
“The writers add some informative establishing scenes, but it felt overwhelming to watch,” JMU’s The Breeze writer Gracie Brogowski states. “While context is important to avoid confusion and build tension toward the climax, it felt annoying after a while.”
Something I truly respect about this film is that it takes a recycled formula and adapts the original story by Agatha Christie with a unique approach. Instead of focusing on the murder investigation throughout the entirety of the movie, the first half of the film allows for another mystery to beguile audiences: Who will be the victim?
While some may not be on board for this play on the genre, pun intended, I think that it genuinely works with Branagh’s direction, leaving audiences still guessing until the actual mystery presents itself.
“‘Death on the Nile’ is a fun murder mystery story brought to the screen. Although the performances range in quality, the nature of deduction and the grand production style makes it a desirably puzzling boat trip,” Keenan Thomas with the University of Tennessee’s Daily Beacon writes.
All in all, I think that this film hit the mark in creating a stunning and innovative story of love, betrayal and intrigue. While it may disappoint some viewers, I do believe that this is one you won’t want to miss in theaters, as the cinematic experience alone may be cause enough to buy a ticket. Supporting these films is another wonderful benefit since “Death on the Nile” proves that hope remains for the preservation and reinvention of the murder mystery genre.
Marks is an opinion writer.