Synopsis
Belgian sleuth Hercule Poirot's Egyptian vacation aboard a glamorous river steamer turns into a terrifying search for a murderer when a picture-perfect couple's idyllic honeymoon is tragically cut short.
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Cast
- Kenneth BranaghHercule Poirot
- Tom BatemanBouc
- Annette BeningEuphemia Bouc
- Russell BrandWindlesham
- Ali FazalAndrew Katchadourian
- Dawn FrenchBowers
- Gal GadotLinnet Ridgeway
- Armie HammerSimon Doyle
- Rose LeslieLouise Bourget
- Emma MackeyJacqueline de Bellefort
Recommendations
- 75
IndieWire
Expensive but never fancy, and solid enough to emit a faint whiff of sophistication, this entire project is powered by the same eccentric confidence that allows Branagh to play Hercule Poirot like a neutered Pepé le Pew. - 75
Consequence
A far more intimate portrait of the detective than one might expect. - 70
IGN
It takes Death on the Nile far longer than it should to reach its most impactful moments, but actor-director Kenneth Branagh cares deeply enough about Detective Poirot to make it work. - 63
Slant Magazine
Once things get moving, it’s smooth sailing to the double-shocker of a denouement. - 60
TheWrap
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. - 60
Empire
An improvement on Murder On The Orient Express, with the increased focus on Branagh’s Poirot (even with its strange moustache obsession) welcome enough to distract from the problems with some of its ensemble and its too-obvious reliance on VFX. - 50
Movie Nation
A Death on the Nile that never lets us forget its quality and attention to detail, but forgets to be much in the way of fun. - 50
Los Angeles Times
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.
