When he’s not collecting Oscar nominations or adapting Shakespere, Kenneth Brannagh spends his time directing himself and some of the most famous actors in the world in Agatha Christie adaptations, all while sporting a ludicrous moustache.
Kenneth Brannagh is a storied and well-respected filmmaker and actor whose credits range from his Oscar-nominated adaptation of “Henry V” to Marvel Studios’ first “Thor” film. Brannagh is mainly known for his Shakespere adaptations of the mid 90s and early 2000s, while others may know him better as Gilderoy Lockhart from “Harry Potter and the Chamber of Secrets.” Lately, Brannagh has taken an interest in adapting Agatha Christie murder mystery novels for the big screen, with himself in the leading role of course.
“Death on the Nile” follows Branagh as Hercule Poirot, the world’s greatest detective who once again finds himself in the middle of a whodunnit-style murder mystery. This time he trades the Orient Express for the SS Karnak, a honeymoon steamboat full of wealthy — and vengeful — aristocrats cruising their way down the Nile.
This is Brannagh’s second adaptation of a Christie novel after the hit “Murder on the Orient Express” in 2017. His new film keeps the endearing charm and silliness of its main character at heart, but its plain script and uninteresting performances make the sequel less compelling than its predecessor.
The film is serviceable as a murder-mystery genre flick. Its reveal is somewhat predictable and it doesn’t try terribly hard to play with any audience expectations, but it exists comfortably within its template and will provide an easily digestible and largely satisfactory mystery film to general audiences.
Branagh is an expert filmmaker, and he puts his talents to good use once again. His frames are soft, deep and full of life, and his acutely blocked and manicured shots offer compelling visuals in place of a strong screenplay. His directorial eye and well-composed filmmaking are the true backbone of this film, which is slightly disappointing considering it’s a murder mystery starring some of the biggest names in Hollywood. He’s clearly giving his all from in front of and behind the camera, even if his co-stars sometimes aren’t.
Generally, the acting in Death on the Nile is disappointing considering its cast. In likely his last big screen performance for the foreseeable future, Armie Hammer fumbles his way through half a British accent in a performance that isn’t much of anything. This is the most likely beginning of an indefinite hiatus for a once-promising and ultimately strange career trajectory. Gal Gadot somehow does even less than Hammer, again attempting to cruise on a slight variation of the persona she’s been able to curate since “Wonder Woman.” The rest of the supporting cast — including Letita Wright, Sophie Okonedo and Russel Brand — are equally unimpressive.
Brannagh and Emma Mackey — who plays a scorned lover — seem to be the only cast members who either know or care about what they’re doing. Mackey appears to be relishing her role and approaches her part with the right sense of dramaticism and zeal. Unfortunately, her embrace of the role didn’t rub off on her co-stars.
Brannagh is the only true star of his film, despite what any of its posters might lead you to believe. He outshines the remaining ensemble with his acting and filmmaking, and places the focus on himself more than ever in the process. His campy approach to the character of Hercule Poirot was a strongpoint of “Murder on the Orient Express,” and Brannagh maintains that sense of farcical fun, only this time it’s film’s the main source of entertainment.
“Murder on the Orient Express” did everything that “Death on the Nile” does, just slightly better. Its cast is better, the performances are preferable and the story — while far from perfect — is more forgivable because it's part of a more compelling film. Brannagh does use his new Egyptian setting to great effect, but his shots of picturesque sunsets and the flowing Nile can only make up for so much in this kind of story.
Brannagh’s series of Christie adaptations have always been about, first and foremost, himself. His self-fascination with the character even compelled him to devote the opening five minutes of the film to a black-and-white origin story for his character’s signature double-moustache. A curious addition to say the least, but one that ultimately adds to the campy, half-serious tone that Brannagh’s adaptations have flirted with.
“Death on the Nile” is a film that ultimately leaves little to no impression after its final credits roll. It’s an easily-forgettable but not totally barren landscape of a mystery that will entertain audiences of all ages. It’s reliance on genre tropes to maintain audience interest is a bit overstated, but it executes on those well-worn ideas with enough purpose to justify its own existence.
The film ends with a certain tone of finality, and it’s unclear if there’s another Brannagh-centric Poirot film in the works. “Murder on the Orient Express” concluded with the character getting word of a murder on the Nile, which — albeit clumsily — teased the eventual arrival of this film. There is no hint towards another sequel in the closing moments of “Death on the Nile,” which could suggest that Brannagh is moving on. Even considering the middling creative returns of the series, another Christie adaptation starring Brannagh would almost certainly be profitable. In today’s world where film trilogies have become all the rage, one more go around for Brannagh and another star-studded cast seems probable.
If this proves to be the last on Brannagh’s Christie adaptations, he will have made two respectable but mediocre mystery films starring himself as the only character of real interest. I’m not saying he’s vain, but it’s quite clear that the biggest fan of his Poirot performance is likely Brannagh himself.
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