DeathOnTheNile is totally crazy, but it works. Mostly
Gal Gadot and Emma Mackey in Death on the Nile. Photo: 20th Century Studios Kenneth Branagh’s latest Agatha Christie film begins with a gritty, black-and-white prologue set in the trenches of World War I, in which we learn the incredibly disturbing origins of Hercule Poirot’s mustache. That’s not all. In Death on the Nile, Branagh films a riverside hotel in Egypt like it was the grand Elvish sanctuary Rivendell from The Fellowship of the Ring, all swooping cameras and soaring music.
Meanwhile, there’s Linnet’s rampaging communist-socialite godmother Marie Van Schuyler and her devoted nurse Mrs. Bowers , who, not having much money herself, can’t exactly rail smugly against the ravages of wealth. Or soulful, pistol-packing jazz singer Salome Otterbourne and her manager and niece Rosalie , who is desperately in love with Poirot’s good pal and confidante Bouc .
And the cast, by and large, delivers. Despite the memes, the not particularly versatile Gadot manages to be rather delightful as Linnet, the kind of impossibly gorgeous, impossibly wealthy head-turner who consumes all the energy in any room she enters. There’s a weirdly naïve entitlement to this character that Gadot channels well: She’s stolen her best friend’s man, and she clearly thinks she deserves him.
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