| Walt Disney Studios Motion Pictures | Release Date: February 11, 2022 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
19
Mixed:
28
Negative:
4
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Critic Reviews
Feb 10, 2022
As for the murder mystery, some of the supporting players barely get enough screen time or enough of a backstory to be considered serious suspects, but even when “Death on the Nile” skirts the edge of camp, the fastidious and melancholy Poirot is always there to guide us through the rough spots and solve the case in the nick of time.
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Feb 8, 2022
There's obviously a bit of calculation in introducing more depth to Poirot, making him more interesting for Branagh to play. Yet the filmmakers manage to incorporate that without detracting from the central mystery, and the pace chugs along briskly enough, with plenty of stunning scenery when outside those stuffy cruise rooms.
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Feb 7, 2022
In a post-Knives Out world, is a movie like this meant to be a classic whodunit for the whole family, or something more deliberately meta and modern? Branagh mostly lands on the former: a sort of sumptuous dinner-theater redux studded with stray bits of caricature, camp, and many CG pyramids.
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Feb 7, 2022
While Poirot is always witty, few of the other characters are. Michael Green’s screenplay often feels weirdly detached, like we missed some crucial early scenes that tell us why we should care about these people. All that said, it’s no great hardship to watch Death on the Nile; it looks pretty, feels pleasantly old-school and is over within shouting distance of the two-hour mark.
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Feb 9, 2022
More prickly than David Suchet and more mischievous than Peter Ustinov, Branagh plays Poirot as a tremendously fun nuisance, embracing the character’s cleverer-than-thou righteousness with glee. Whenever Branagh puts himself at the centre of the action, Death on the Nile clicks well enough to justify the whole act of big-budget copy-pasting.
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Feb 7, 2022
Branagh’s indulgences can grate, but you also sense how much he loves it all, which helps. It also helps that production designer Jim Clay’s elaborate recreations (of an age-specific steamer and Aswan’s Cataract Hotel) and Paco Delgado’s stylish period clothing make for steadily appealing visuals, and that the story is one of Christie’s more tantalizing, hot-tempered mysteries.
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Feb 8, 2022
Overacting and silly lines sometimes distract, and the latter sound sillier in Branagh’s forced French accent (“Ah love, it is not safe”). Still, Branagh’s direction and screenwriter Michael Green, who also scripted “Orient,” add diversity and convincing emotions to the mystery mechanics.
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Feb 7, 2022
Christie’s story, one of her finest, is hard to screw up, even when Branagh and his returning screenwriter, Michael Green, seem bent on proving otherwise. Their movie is an often fussy, hectic confusion of old-timey pleasures and 21st century sensibilities, a mash-up that makes for some especially incongruous visual choices.
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Feb 7, 2022
Death On The Nile feels chintzier in every respect, with a much lower-wattage cast of potential murderers and a digitally summoned exotic locale about as immersive as a screensaver. If a viewer didn’t know better, they might assume they were seeing the fourth or fifth entry in a sputtering franchise, not the direct follow-up to a global box-office hit.
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Feb 7, 2022
As the narrative gears grind through like the slow and steady paddle boat, there’s a sense that Branagh has lost a lot of the fun of Agatha Christie along with his passport - although as the credits indicate he kept a navy’s worth of digital compositors in work through the pandemic, at least they’ll be smiling.
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