114. Death On The Nile; movie review

DEATH ON THE NILE

Cert 12A

127 mins

BBFC advice: Contains moderate violence, bloody images, injury detail, sex references

I had intended to take my Agatha Christie-loving parents to see Death On The Nile but, on the day we had arranged our cinema visit, dad was very ill and needed to be taken into hospital.

I had been holding out for his recovery but, although he is on the mend, he doesn't yet feel up to a two-hour-plus movie.

Thus, I needed to see Kenneth Branagh's film before its run ended and joined a dozen folk as old as my parents for a Friday afternoon screening at Mansfield Odeon.

This is traditional whodunnit territory and looks sumptuous, despite its rather obvious CGI.

It also adds a few unexpected layers to Poirot (Branagh), the Belgian detective with whom we have become so familiar.

For example, he is seen in the movie's early stages on the front line of the First World War where the shocking reason for his trademark moustache is revealed.

The action then moves on 20 years to a London nightclub where Poirot observes a rather inappropriate dance between a rich and flamboyant heiress (Gal Gadot) and a businessman (Armie Hamer) who is engaged to her best friend (Emma Mackey).

Six weeks later and we are on the Nile in a luxury steam cruiser where death most foul occurs and Poirot is on hand to piece together the jigsaw which has led to murder.

Branagh is splendidly exaggerated as the pompous detective who may be the best clue-gatherer in the world but is beset by human frailties.

Others in his list of suspects include a wealthy socialist (Jennifer Saunders), her nurse (Dawn French), a posh doctor (Russell Brand), Poirot's old friend (Tom Bateman) and his mother (Annette Bening), the heiress's cousin (Ali Fazal), a jazz singer (Sophie Okonedo) and her manager (Sophie Okonedo).

I am conflicted over Death On The Nile.

Sure, I loved its scale - the costumes, the dramatic backdrops and the details from the battlefield to the London jazz club and the river cruiser.

And Branagh's Poirot is eccentric and engaging.

But I couldn't help think that the cast was a tad wasted on being overly melodramatic and, frankly, a bit daft.

Certainly, film-goers will be aware that Bening, Saunders, French and even Brand are capable of much more nuanced contributions (let's not get into the crazy accents).

But, at the end of the day, it keeps largely to the Poirot playbook and fans will enjoy its conclusion and the extra delving into the psyche of the Belgian detective.

Is it good enough to keep Branagh twirling the famous 'tache. Let's wait and see.

Reasons to watch: Engaging mystery with sumptuous backdrops

Reasons to avoid: Its crazy accents

Laughs: One

Jumps: None

Vomit: None

Nudity: None

Overall rating: 7.5/10

Did you know? Authorities in Kuwait and Lebanon have refused to allow the film to be released due to the inclusion of Jewish-Israeli actress Gal Gadot. Prior to commencing an acting career, Gadot was in the Israeli military and some of her past comments have caused offence.

The final word. Kenneth Branagh: "It’s a very dark, very sexy, unsettling kind of film. It certainly delivers on the travel log as it takes you to big and exciting different places, but it’s very uncomfortable in ways people will really understand because it has to do with love, possession, lust, jealousy, big primal emotions that really get in people’s way."

 

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