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Comments 1 - 11 of 11

lachyas's avatar


Some of the worst green screen I have seen in a modern blockbuster, absolutely embarrassing. And made all the more ergrigious by the fact that the scenery is such a pull for the original film.
1 year 11 months ago
nowhereman136's avatar


We get not 1 but 2 pointless opening scenes. The exposition is laughable, acting over the top, the scenery looks cartoonishly fake, and action always feeling out of place. On top of that the twist feels very obvious to the point where you think that cant possibly be it.

2 years ago
Neens's avatar


The movie is apparently set in 1937, but at the very beginning it references Casablanca, which came out in 1942. There are a lot of other anachronisms also, most of them are mentioned on IMDB. I lost count after a while, figuring the movie must be set in some sort of fictional post WW2 era. The thing is, details like these are no longer details when they end up completely distracting you from the movie. Could they not afford a history consultant?
1 year 10 months ago
chunkylefunga's avatar


Terrible Poirot, subpar film.
1 year 11 months ago
boulderman's avatar


Good, recalled a bit of the story elements before.

Didn't think it was on location as other also remark, I think due to COVID but decent acting 6/10
8 months ago
MrDoog's avatar


Not a great effort, just watch Guillermin's superior version from the 70s
1 year 7 months ago
CynInFlicks's avatar


It is difficult to put into words how wrong Branagh seems to get it; all the pieces are (nearly) there, but they just don't come together correctly. Still, at least I stayed awake for this one (although it took me several hours to watch it), unlike his MURDER ON THE ORIENT EXPRESS.
1 year 11 months ago
Earring72's avatar


Ok Hercule Poirot movie from Kenneth Branagh. But result are less than Murder on the Orient express. Thats partly due to the serious tone but also it's a bit too long and lacking in thrills. It misses the fun factor.
5 months 1 week ago
Siskoid's avatar


There are some wild departures from the novel in Kenneth Branagh's Death on the Nile, but they mostly serve two worthy purposes. One is getting at a singular theme - love - so relationships are rewritten to encode that in their DNA. Which includes Poirot, whose backstory includes a lost love. The other is, as was the case with his Orient Express, to create a complex psychology for the great Belgian detective. The attention to detail, the arrogance and vanity, these are further explored by showing us events from his youth (though I think the secret origin of the mustache is an ultimately silly component) and introducing him into the events of this particular story sooner, and with a more personal involvement. Of the guest cast, Dawn French is my personal MVP - I only knew her from chat shows, but she's very funny here - though I should say I was pleasantly surprised by Gal Godot who, despite the weird line reading everyone likes to mock, actually puts in one of her best performances. In terms of the mystery, I've never thought this was a very difficult whodunit, but an interesting HOWdunit. The movie's got problems (red herrings are too obvious, showing animals eating each other is kind of hack at this point, and I wish it were a bit more procedural than it is), but I'm still well invested in this version of the character and would be in for more. (From a purely conceptual point of view - train-boat-plane - my vote is for Death in the Clouds.)
2 years ago
CodeV's avatar


Classic detective mystery, Hercule Poirot has a new case to solve.

+ starts with impressive lookback to events in 1914 and how it impacted Poirot's life
+ beautiful views of Egypt and the river
+ strong group of actors in a limited area
1 year 11 months ago
John Greer's avatar

John Greer

Death on the Nile is really just blackpill incel fuel:
1 year 11 months ago
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