Death on the Nile Is a Slight Improvement on Kenneth Branagh’s Poirot

Death on the Nile marks the second attempt by director Kenneth Branagh to bring Hercule Poirot back to the big screen. Since 2017’s Murder on the Orient Express, he’s seemingly learned a few things that make this picture a bit more pleasing.

He keeps the pacing on track so there’s not a rush to get to all the suspects. He gets clever with the shooting and doesn’t hold on to awkward shots. He also improves the character of Poirot by not trying too hard to nail the quirks, force the mannerisms, or extend his mustache. He could stand to lose some hair to better look the part, but he’s making baby steps with the character.

Kenneth Branagh as Hercule Poirot in Death on the Nile. Photo courtesy of 20th Century Studios

Branagh gives Poirot less rigidity and more emotion than in the previous film, though he retains his tragic past and cautious eye for the future. There’s more backstory revealed, here relating to his time during the war, showcasing how his guard being brought down can bring the end of his friends and loved ones. There’s an allure to his curiosity, which finds him fascinated by jazz singers and eccentric acquaintances. Branagh still doesn’t quite have the look or cadence of how Poirot is usually portrayed, but he does well in making the character more three-dimensional if not completely faithful.

When we first meet Poirot, his mustache looking less silly than the last movie, he’s at a nightclub partaking in sweets while observing a romance. Simon (Armie Hammer) is due to wed the madly passionate Jackie (Emma Mackey). Their love seems like a sure thing until Simon’s eyes are drawn to Linnet (Gal Gadot) on the dance floor—cut to six months later, and Simon and Linnet are getting married in Egypt. Though Poirot isn’t too involved in their marriage, he does attend the celebrations to meet his charming pal Bouc (Tom Bateman), attending the event with his painting mother, Euphemia (Annette Bening).

The wedding and honeymoon seem to proceed rather well, despite some awkward guests. Linnet’s former fiancé, Linus (Russell Brand), seems tight-lipped but passive about the events. Her cousin and lawyer, Andrew Katchadourian (Ali Fazal), simply can’t wait for her to sign the legal documents of her marriage. Her godmother, Marie Van Schuyler (Jennifer Saunders), can’t stop talking about communism, and her nurse/companion, Mrs. Bowers (Dawn French), awkwardly endures it. Easily the most problematic of the guests is the uninvited Jackie, grinning from the corners as she conspires to get Simon back in her life.

While Branagh’s Poirot still feels a tad off, there are some stellar performances here and there. Sophie Okonedo as jazz singer Salome Otterbourne is the absolute standout—any time she’s on the screen, there’s a fiery allure in the air with the way she slyly seduces Poirot and speaks with refreshing bluntness. I also really enjoyed Tom Bateman bursting onto the scene and making the first shots in Egypt memorable ones. Sadly, the likes of Gal Gadot and Russell Brand really do stick out like sore thumbs among the cast, feeling far too rigid for their roles. Thankfully, familiars like Jennifer Saunders and Dawn French stroll rather easily into their roles, and it’s always a pleasure when they’re together, even if their political dialogue is not the least bit nuanced.

Photo courtesy of 20th Century Studios

The direction is very much an improvement over the previous picture. There’s better pacing, and we get to know the characters well before the first shot is fired. There are some stunning exterior and interior shots of the boat where the action takes places, using the blocking of the glass for interrogation scenes and gorgeous displays of nature for establishing shots. I even dug the moody score by Patrick Doyle, which finds just the right notes (pardon the pun). The murder revelations feel intense and exciting, with moving cameras and dramatic staging, keeping the tension firm.

If you still can’t buy Branagh as Poirot, Death on the Nile probably won’t change your perceptions, especially if you’re a big fan of David Suchet’s run as the character. As murder mystery on its own terms, however, there’s some pleasing drama at play here with a handful of enticing performances. It’s also a good-looking picture that maintains the classy sensation of Agatha Christie’s mysteries and is a bit of a visual feast. For these many improvements and eye candy, this is a passably entertaining adaptation, even if it isn’t one of the best.