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Review: Suspense in Kenneth Branagh’s ‘Death on the Nile’ Was All in the Film’s Production

After a two-year postponement for various reasons, from post-production issues to a global pandemic and a bizarre scandal with male star Armi Hammer, the new adaptation of Kenneth Branagh Agatha Christie‘small Death on the Nile is finally in the cinemas.

After the first screen adaptation of a Christie’s novel by Brana, Murder on the Orient Express (2017), moviegoers wonder if his new murder mystery was just fatal with bad luck or really as bland as the previous movie.

Christie’s mystery stories have captivated readers for almost a century with their vintage charm. So why are Branagh versions still malfunctioning?

In 1937 in Egypt, Detective Poirot (Brana) is invited as an additional guest on a luxury yacht that doubles as a wedding and honeymoon venue for Simon Doyle (Hammer) and Lynette Ridgeway (Gal Gadot).

Other guests include Simon’s ex-fiancée and Linnet’s old friend Jackie de Bellefort (Emma Mackey), Linnet’s ex-boyfriend Linus Windlesham (Russell Brand), Linnet’s personal maid Louise (Rose Leslie), longtime Poirot’s friend Bouc (Tom Bateman) and his new wife Rosalie (Laetitia Wright).

Annette Bening plays Bouc’s mother, Sophie Okonedo co-stars as Rosalie’s aunt, and even British comedy duo Dawn French and Jennifer Saunders appear.

Just during the wedding celebrations, melodrama and suspense prevail as the guests cruise along the enchanting Nile River.

Death on the Nile is a bit good and bad cinematic. The cast has a nice variety of faces and talent, especially Leslie and Wright, who are both charismatic in their roles. Bening, Okonedo and French and Saunders seem to be having fun with their characters, while Branagh and Hammer amplify the melodrama for everyone.

Brand’s involvement seems a bit behind the scenes, while Gadot is unfortunately the weakest link among the stars.

Although the story takes place mainly in Egypt, everything Death on the Nile was shot in London, with obvious computer graphics and green screen techniques.

I think Branagh’s direction is a little more interesting and flexible this time compared to Orient Express, but this could also be due to the fact that the scenery is more elaborate than a train. Without spoiling much, the casting of French and Saunders in their roles is surprisingly inspiring and even a little sweet to lighten the mood.

But to a large extent, Death on the Nile is forgotten, especially compared to John Guillermin’s 1978 film adaptation. Death on the Nile may be a better choice than Kat Coiro Marry mebut you would probably do better this month with one of the Oscar nominees.

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Review: Suspense in Kenneth Branagh’s ‘Death on the Nile’ Was All in the Film’s Production Source link Review: Suspense in Kenneth Branagh’s ‘Death on the Nile’ Was All in the Film’s Production

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