![]() It never transcends the feeling that you’re seeing a relic injected with life serum, but that, in a way, is part of its minor-league charm.Īpart from Branagh, the first star of “Death on the Nile” is the Nile. The new film is crisper and craftier than “Murder on the Orient Express” it’s a moderately diverting dessert that carries you right along. ![]() “Death on the Nile,” based on Christie’s 1937 novel, is essentially Branagh’s sequel to that film, and I was eager to see if he could tighten the screws on his version of the Christie genre. But Branagh, acting from behind a mustache so extended it seemed to have its own geological layers, invested Poirot with a wry dyspeptic noodginess. In recent decades, the Christie formula has seemed more at home on television (e.g., the British “Miss Marple” series), where it has come off as less hermetic and precious - that is, until Kenneth Branagh picked up the gauntlet for his 2017 remake of “Murder on the Orient Express.” That picture was something of a mixed bag: sterling production values, a puckish sense of play, not enough tension to an overly familiar mystery. But the Christie adaptations that followed - “ Death on the Nile” (1978), “The Mirror Crack’d” (1980), “Evil Under the Sun” (1982) - were half-baked suspense films that felt, collectively, like the fading embers of a genre. ![]() “Murder on the Orient Express” was actually an event movie (it received half a dozen Oscar nominations, and Ingrid Bergman even won). ![]()
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