Though Death on the Nile is not a direct sequel to 2017’s Murder on the Orient Express, it catches up with Agatha Christie’s legendary, mustachioed, Belgian detective, Hercule Poirot (director Kenneth Branagh), as he contemplates retirement and looks back on a lost love. However, it’s not too long until he’s sucked into another tantalizing mystery involving a recently married couple, their suspicious guests, and a trip on the Nile River full of love and murder. All in all, Death on the Nile is a more satisfying mystery than Murder on the Orient Express, but it’s a shame that it tends to get in its own way and takes so long to prove that.
The entire first act is absolutely puzzling for all the wrong reasons and struggles to hook viewers. While it’s admirable that Michael Green’s screenplay attempts to flesh out Poirot’s character by delving into the scars he endured during World War I, these opening scenes don’t feel that connected to the rest of the film. Honestly, when you first see it, you almost feel like you’ve walked into the wrong movie entirely, since the black-and-white cinematography doesn’t fit the rest of the film. And seriously, did we need the origins of Poirot’s mustache? To be fair, it is nice that the film shades in more of Poirot’s personal story to make him more than just “the detective,” but it doesn’t feel like a big enough story arc throughout the film.
Even worse, Death on the Nile struggles to introduce its big cast of characters and explain their fractured relationships with the wealthy wife of the newly married Doyle couple, Jackie (Gal Gadot). The film simply speeds through its introductions and doesn’t give enough depth to many of the side characters for them to leave much of an impression. As they roll in and out the film, it’s actually a struggle to remember who they are that the script basically has to remind you through overt, unnatural dialogue.
However, not even an overt monologue from Poirot’s friend Bouc (Tom Bateman), where he literally delivers a rundown of all the suspects before anyone is even murdered, clears things up. Also, while Branagh continues to deliver a good performance as Poirot and really nails the more emotional parts of his story here, that thick accent makes it tough to stay engaged because it’s impossible to understand what he’s saying half the time.
Eventually, though, once the crew sets sail and the first body is discovered, Death on the Nile becomes the kind of murder-mystery audiences are always interested in. Haris Zambarloukas’ cinematography perfectly sets Death on the Nile’s tone, making it look and feel like an older, classic detective film and giving the film heat—which comes through in more ways than one. The brightness and gleam definitely evoke a sweatiness fitting for a trip along the Nile, but they also work well in the very erotic, sensual vibe of this story and its characters. Its central hot-and-heavy love triangle causes sparks that not only bring this eclectic group of characters together, but also sees some of them not leave the boat alive.
It’s a pleasure cruise that takes a murderous turn and it’s actually relieving when the slow pace of Death on the Nile ramps up to the inquisitive, methodical pace of a good murder-mystery. Even though their introductions are botched, the characters become more interesting as the mystery goes into full-swing and you’ll easily find yourself more invested into the story and character relationships as the plot thickens. The film’s central mystery only becomes more enthralling as it goes on, with personal mysteries being uncovered and Poirot, himself, having some interesting secrets. It’s great that no stone feels unturned and the way that the film uses Bouc and Bateman’s performance is easily one of its best aspects. More importantly, Death on the Nile’s conclusion is much more satisfying than Murder on the Orient Express’s, with a more definitive answer that viewers will enjoy and some satisfying wrap up for Poirot’s story.
It may struggle to show it in its first act, but Death on the Nile is an improved follow-up that contains a star-studded, classic murder-mystery that viewers will enjoy becoming wrapped up in and, ultimately, be satisfied with.
