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Film Review: Death on the Nile (2022)

In some ways, Death on the Nile feels like a film that came out years ago.

Originally slated to arrive ‘P-C’, ‘Pre-Covid’, in December 2019, a slew of delays followed as the pandemic rocked the cinematic world and further pushed back Kenneth Branagh’s follow up adventure as the self-styled ‘world’s greatest detective’ Hercule Poirot, after his successful and largely critically praised debut in Murder on the Orient Express, until finally it has arrived—perhaps more appropriately—on Valentine’s weekend some two and half years, almost, late.

The project since then has been lurking in the press for all of the wrong reasons, be it Gal Gadot’s views on the Israeli-Palestinian conflict, Armie Hammer’s blacklisting thanks to some troubling sexual peccadilloes, or Letitia Wright spouting full blown anti-vaccination nonsense (which she denies). Some even wondered if the film would ever see the cinematic light of day or end up sent to the streaming doldrums of Disney+ as some kind of ‘premier exclusive’. Perhaps wisely, perhaps not, that didn’t happen.

Branagh’s film is undeniably a cinematic experience but that, nor the delay, prevent the finished product being a frustrating disappointment.

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