Death on the Nile review: Shipshape old-school murder mystery

Few films have had a release as disrupted by the pandemic as Death on the Nile, Kenneth Branagh’s on-screen- and behind-the-camera-led adaptation of Agatha Christie’s classic murder mystery. Initially planned for December 2019, the all-star sequel to Murder on the Orient Express was pushed back to October 2020, then December of the same year, then September 2021, before finally hitting cinemas in February 2022.

That’s never a good thing in terms of generating and sustaining hype, which is a pity because Death on the Nile is arguably a better film than 2017’s Murder on the Orient Express (our review). Just. There are a lot of similarities between the two movies – including a scandal-plagued male star – but Branagh seems more comfortable in his second stint as the director and star of a blood-splattered Hercule Poirot adventure.

In Death on the Nile, Branagh tones down the quirks of the brilliant but eccentric Belgian detective, and better times his visual flourishes so the cinematography is less obtrusive. It also doesn’t hurt that the new film has a central theme – the things people will do for love – that is more accessible and engaging for contemporary audiences. Then, while it takes a surprisingly long time for the first murder to take place, there’s the much higher body count, ramping up the tension as the killer tries to cover their tracks, and the cast is whittled down. Death on the Nile is both sexier and more violent than its predecessor.

Branagh’s Death on the Nile creates a stronger link between it and Murder on the Orient Express than previous adaptations, and the traditionally standalone Christie’s novels. Poirot’s friendship with enthusiastic rich boy Bouc (Tom Bateman), which landed the detective a berth on the Orient Express, again comes into play here, with the result being that Poirot, vacationing in Egypt in 1937, finds himself on a luxurious paddle steamer cruising up the Nile as part of a very exclusive wedding party.

Champagne flows freely, Jazz star Salome Otterbourne (Sophie Okonedo) is on hand for entertainment and newlyweds Linnet Ridgeway (Gal Gadot) and Simon Doyle (Armie Hammer) can’t keep their hands off each other. However, there’s a shadow tailing the couple: Sex Education’s Emma Mackey as Jackie de Bellefort, Simon’s ex-fiancé and Linnet’s former best friend. Jackie’s silent stalking is ominous, but wealthy socialite Linnet is as easy to hate as she is to love, and nobody on the boat can really be trusted.

Other passengers onboard include Bouc’s cynical mother Euphemia (Annette Bening); Linnet’s cousin and financial advisor Andrew Katchadourian (Ali Fazal), Linnet’s former fiancé Linus Windlesham (Russell Brand); Linnet’s godmother Marie Van Schuyler (Jennifer Saunders) and her nurse Mrs Bowers (Dawn French); Salome’s sharp-witted niece Rosalie (Letitia Wright); and Linnet’s maid Louise (Rose Leslie).

Like Murder on the Orient Express, Death on the Nile is a case of style over substance. There’s a kind of theatricality to the obviously simulated sets and locations, but you don’t really mind. You’re even prepared to choke down hard to swallow connections, like Wright, Mackey and Gadot’s characters being old school friends despite the obvious age difference. The audience is present for a glamorous, star-studded ride with all the vintage trappings, and Branagh, as a typically traditional filmmaker, delivers – with modern nods to representative inclusion.

To be fair, Death on the Nile isn’t without moments of poignancy. Branagh’s portrayal of Poirot is possibly the most relatably human and tragic takes on the character to date, spotlighting the detective’s conscious isolation from others. As with Murder on the Orient Express, some of the big name cast are squandered – Leslie is a prime example – but certain performers get to really shine. Death on the Nile features strong work by Bateman, Mackey, and Okonedo as the astute, seen-it-all-before Salome, while Brand turns in a surprisingly serious, muted and affecting performance.

These standout moments are just that, though – moments plopped in what is otherwise a smooth-flowing and superficially enjoyable experience. Death on the Nile doesn’t offer an unforgettable trip of a lifetime, but it’s a pleasant two-hour cruise through long-sailed genre waters.

You can watch Death on the Nile in cinemas now.