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What am I Still Doing Here?: My Life as Me
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'Unremittingly glorious. I and the world demand more and we shall thump our tin mugs on the table...
Emma @ The Movies (1786 KP) rated Knives Out (2019) in Movies
Nov 4, 2019
Knives Out was probably my most anticipated film of the festival, so much so that I brought a ticket to see it rather than deal with the hassle of the press screening.
If you take Clue, add some Agatha Christie and maybe a large helping of A-list cast you'll find yourself at the feet of Knives Out. I don't have a problem with any of that at all, the problem I had is that what we got was predictable. That can work, predictable is comforting, but here I watched and felt like I'd seen it before. It felt like I was watching a remake of something. It was Clue without being as fun and Agatha Christie without being as intriguing. Would it have been better had I not been so excited to see it? Potentially, though we'll never know now.
There are definitely things to like though.
We get the classic interview phase with each family member questioned alone, the whole scene has a wonderful flow to it. With the script, the actors and the clips of each character edited together so well you get the perfect comedic timing on everything.
Marta was an interesting character but Ana de Armas (Blade Runner 2049 and No Time To Die) gave what I felt was an almost forgettable performance, which is incredible considering Marta has a severe problem with lying that leads to hilarious situations. It's a solid performance, I don't want to say she did a bad job, but the other characters are larger than life and it would have been nice to see a little more of that in her. I know she's supposed to be the meek and mild help but you see little glimmers of it in there yet it doesn't come to anything.
Benoit Blanc is Knives Out's Poirot, though he's much more of a crossbreed of Poirot and Hastings. Excellent with the deductions and yet just a little oblivious. Daniel Craig plays him just slightly frustrating, which again is something you'd expect in this sort of thing but I wasn't entirely convinced. I did like Blanc's interactions with Marta, though only from his side of things, it did something interesting to his character but somehow made no impact on Marta's.
A brief special mention should go to Lakeith Stanfield and Noah Segan, their appearances felt fleeting but they were always amusing.
I thought the rest of the cast was good, as you'd expect, that might seems rather dismissive but how am I supposed to feel about it? A-listers in main roles... fantastic, A-listers in cameos... fantastic, but the rest of the characters in this was filled with powerful actors all in bit parts. When that went through my head all I could think was "please sir, I want some more." Toni Collette, Chris Evans, Jamie Lee Curtis, Michael Shannon... great performances but I'd happily have had an encore.
I did enjoy it, but as I sat in the audience and everyone around me roared with laughter at things I thought were just okay I had to wonder what I'd missed. Was it because I was so hyped for it in the first place? Was it festival fatigue? Or have I just seen so much of this that I just couldn't appreciate their take on the classic? I wish I knew.
Cineworld are putting on an Unlimited Screening of this a few days before it goes on general release, I'll definitely be checking it out again and I'm hoping that a second viewing will make me feel differently about it. In the meantime though it's nice to see so many people rating this one highly.
Full review originally posted on: https://emmaatthemovies.blogspot.com/2019/11/knives-out-movie-review.html
If you take Clue, add some Agatha Christie and maybe a large helping of A-list cast you'll find yourself at the feet of Knives Out. I don't have a problem with any of that at all, the problem I had is that what we got was predictable. That can work, predictable is comforting, but here I watched and felt like I'd seen it before. It felt like I was watching a remake of something. It was Clue without being as fun and Agatha Christie without being as intriguing. Would it have been better had I not been so excited to see it? Potentially, though we'll never know now.
There are definitely things to like though.
We get the classic interview phase with each family member questioned alone, the whole scene has a wonderful flow to it. With the script, the actors and the clips of each character edited together so well you get the perfect comedic timing on everything.
Marta was an interesting character but Ana de Armas (Blade Runner 2049 and No Time To Die) gave what I felt was an almost forgettable performance, which is incredible considering Marta has a severe problem with lying that leads to hilarious situations. It's a solid performance, I don't want to say she did a bad job, but the other characters are larger than life and it would have been nice to see a little more of that in her. I know she's supposed to be the meek and mild help but you see little glimmers of it in there yet it doesn't come to anything.
Benoit Blanc is Knives Out's Poirot, though he's much more of a crossbreed of Poirot and Hastings. Excellent with the deductions and yet just a little oblivious. Daniel Craig plays him just slightly frustrating, which again is something you'd expect in this sort of thing but I wasn't entirely convinced. I did like Blanc's interactions with Marta, though only from his side of things, it did something interesting to his character but somehow made no impact on Marta's.
A brief special mention should go to Lakeith Stanfield and Noah Segan, their appearances felt fleeting but they were always amusing.
I thought the rest of the cast was good, as you'd expect, that might seems rather dismissive but how am I supposed to feel about it? A-listers in main roles... fantastic, A-listers in cameos... fantastic, but the rest of the characters in this was filled with powerful actors all in bit parts. When that went through my head all I could think was "please sir, I want some more." Toni Collette, Chris Evans, Jamie Lee Curtis, Michael Shannon... great performances but I'd happily have had an encore.
I did enjoy it, but as I sat in the audience and everyone around me roared with laughter at things I thought were just okay I had to wonder what I'd missed. Was it because I was so hyped for it in the first place? Was it festival fatigue? Or have I just seen so much of this that I just couldn't appreciate their take on the classic? I wish I knew.
Cineworld are putting on an Unlimited Screening of this a few days before it goes on general release, I'll definitely be checking it out again and I'm hoping that a second viewing will make me feel differently about it. In the meantime though it's nice to see so many people rating this one highly.
Full review originally posted on: https://emmaatthemovies.blogspot.com/2019/11/knives-out-movie-review.html
The Lying Game
7.8
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From the instant New York Times bestselling author of blockbuster thrillers In a Dark, Dark Wood and...
What scares you the most? Ghouls, vampires, slime-fanged aliens ...or something terrible that truly could happen? For me it's definitely the latter.
Our narrator, Jon, is a historian witnessing the most monumental event of humanity but at a great distance. He feels compelled to keep a record of the people isolated with him in a vast hotel. He collects their stories and feelings in the faint hope that some sort of civilisation will survive long enough to rediscover them. Through his journal we experience what it would be like to be aware that the world was ending, billions dying, but be totally disconnected from the horrific events.
Most books set during an apocalypse are fraught with traumatic dashes, violent brushes with death, horror and misery. There are elements of that here but this book mostly poses the question of what you would do if there was little drama but lots of time to dwell on things. The people in the hotel are comparatively safe in an old hotel surrounded by forest. They wait for something to happen, for someone to rescue them, or perhaps just for their food to run out. Jon embarks on a quest to solve one cruel murder, taking him down a path of mistrust and near hysteria.
I enjoyed the blend of dystopia and murder mystery; the first half of the book reads like a modern day progeny of George Orwell and Agatha Christie. Asking your audience to imagine bombs wiping out entire countries but then drastically limiting their focus to one death amongst multitudes is startling. I also liked the references to real people and places, there were definite shades of the Cecil Hotel here for a true-crime/horror podcast junkie like me to appreciate. However, I do feel that the novel lost it's way towards the end - trying to be all things to all people perhaps. It's definitely worth reading and I'm keen to see more from this author.
Our narrator, Jon, is a historian witnessing the most monumental event of humanity but at a great distance. He feels compelled to keep a record of the people isolated with him in a vast hotel. He collects their stories and feelings in the faint hope that some sort of civilisation will survive long enough to rediscover them. Through his journal we experience what it would be like to be aware that the world was ending, billions dying, but be totally disconnected from the horrific events.
Most books set during an apocalypse are fraught with traumatic dashes, violent brushes with death, horror and misery. There are elements of that here but this book mostly poses the question of what you would do if there was little drama but lots of time to dwell on things. The people in the hotel are comparatively safe in an old hotel surrounded by forest. They wait for something to happen, for someone to rescue them, or perhaps just for their food to run out. Jon embarks on a quest to solve one cruel murder, taking him down a path of mistrust and near hysteria.
I enjoyed the blend of dystopia and murder mystery; the first half of the book reads like a modern day progeny of George Orwell and Agatha Christie. Asking your audience to imagine bombs wiping out entire countries but then drastically limiting their focus to one death amongst multitudes is startling. I also liked the references to real people and places, there were definite shades of the Cecil Hotel here for a true-crime/horror podcast junkie like me to appreciate. However, I do feel that the novel lost it's way towards the end - trying to be all things to all people perhaps. It's definitely worth reading and I'm keen to see more from this author.
The Ghost of Hollow House
8.0
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Mina Scarletti returns in her most thrilling mystery yet! Perfect for fans of Sherlock Holmes,...
Ghosts Suspense Historical Fiction
I have found the series to be lots of fun. It features a spunky heroine who is at home in all the great cities in Europe, is great at her job, and takes the more than occasional murder in stride.
The thing I find most intriguing and also most inviting about this series is the fact that the murder takes place so late in the story that you almost forget that this is supposed to be a murder mystery. Instead, you get to meet all the characters, learn their secrets and affiliations, begin to develop feelings for them. It is very Agatha Christie like and very cool. The great characters added to the brilliant descriptions of European cities, tour stops, and culture makes the reader feel like they are taking part in the tour and gives them a personal stake in discovering whodunnit.
Death of Leprechaun is no exception. Lana has secured a spot on her current tour for dear friends of hers and she is really looking forward to touring Dublin. Unbeknownst to her, almost every member of the tour has a connection to a corrupt reporter who ends up dead. Everyone he has written about or even for has a motive to want him dead, but only Lana’s tour group had access to the murder weapon.
Beyond the search for the murderer, I have to admit my favorite part of this book is when Dottie and later Lana hang a lantern on the fact that guests in Lana’s tours always seem to turn up dead. Though I will give kudos for the switch up here in that the tour group is still suspect, but the victim, is an outsider.
Readers who enjoy travel fiction, epic character development, and clever mysteries will enjoy this series.
⭐⭐⭐⭐⭐
Rating: 4.5 out of 5.
I received an advance review copy for free through Great Escapes Virtual Book Tours, and I am leaving this review voluntarily
The thing I find most intriguing and also most inviting about this series is the fact that the murder takes place so late in the story that you almost forget that this is supposed to be a murder mystery. Instead, you get to meet all the characters, learn their secrets and affiliations, begin to develop feelings for them. It is very Agatha Christie like and very cool. The great characters added to the brilliant descriptions of European cities, tour stops, and culture makes the reader feel like they are taking part in the tour and gives them a personal stake in discovering whodunnit.
Death of Leprechaun is no exception. Lana has secured a spot on her current tour for dear friends of hers and she is really looking forward to touring Dublin. Unbeknownst to her, almost every member of the tour has a connection to a corrupt reporter who ends up dead. Everyone he has written about or even for has a motive to want him dead, but only Lana’s tour group had access to the murder weapon.
Beyond the search for the murderer, I have to admit my favorite part of this book is when Dottie and later Lana hang a lantern on the fact that guests in Lana’s tours always seem to turn up dead. Though I will give kudos for the switch up here in that the tour group is still suspect, but the victim, is an outsider.
Readers who enjoy travel fiction, epic character development, and clever mysteries will enjoy this series.
⭐⭐⭐⭐⭐
Rating: 4.5 out of 5.
I received an advance review copy for free through Great Escapes Virtual Book Tours, and I am leaving this review voluntarily
Cyn Armistead (14 KP) rated All Clear (All Clear, #2) in Books
Mar 1, 2018
Well, this volume moved much more quickly than [b:Blackout|6506307|Blackout|Connie Willis|https://d.gr-assets.com/books/1402428101s/6506307.jpg|6697901] did! Having read a brief piece written by Ms. Willis thanking those who stood by her as one book spread into two, I think I have a slightly better understanding now of what happened that led to my unhappiness with the way the first book ended. They really shouldn't be two books, but they couldn't physically fit into one volume. Or, for many e-readers, one ebook.
It is still a large book! And, as in [b:Blackout|6506307|Blackout|Connie Willis|https://d.gr-assets.com/books/1402428101s/6506307.jpg|6697901], it isn't always clear just who a character is. I'm reading along happily and all of a sudden, there's a new main character! Wait, who is this? Has Colin gotten through somehow? Or is it another historian? Or another trip by one of the people we already know? Or--but--…Ms. Willis does a marvelous job of keeping us guessing. And the historians' habit of using different names on different assignments meant that I didn't always know which person I was reading about even when I thought I did know who he or she was! The reader has to catch the tiniest details to know that something isn't quite right, or be left completely surprised at the reveal! The many references to [a:Agatha Christie|123715|Agatha Christie|https://d.gr-assets.com/authors/1321738793p2/123715.jpg] are definitely meaningful, and I've come to believe that I haven't read nearly enough of her work!
I've always considered Ms. Willis a cerebral author, but my emotions were heavily engaged here. The analogy of Polly, Sir Godfrey, and <i>The Admirable Crichton</i> was so apt, and that dreadful business in the Phoenix had me bawling. By the time a hero we'd grown to know and love dearly fell, and fell so, so close to home, I was a basket case.
After finishing this massive duology (which really should count as one enormous book spread across two volumes), you would think that I would be sick and tired of all things Willis and not want to read another word by her for the next year or so. Instead, I want to know, right now, what comes next. I want to read about Eileen and the Vicar, and watch Alf and Binnie grow up. I want to see Polly and Colin's relationship grow.
I imagine Ms. Willis is rather tired of all of them, though, and happy to rest for a while and remember what it is to live back in this century again. The Oxford Time Travel universe offers so many rich and fascinating possibilities for fiction, and I hope she chooses to write many more novels set in it. I'll definitely be willing to read them!
It is still a large book! And, as in [b:Blackout|6506307|Blackout|Connie Willis|https://d.gr-assets.com/books/1402428101s/6506307.jpg|6697901], it isn't always clear just who a character is. I'm reading along happily and all of a sudden, there's a new main character! Wait, who is this? Has Colin gotten through somehow? Or is it another historian? Or another trip by one of the people we already know? Or--but--…Ms. Willis does a marvelous job of keeping us guessing. And the historians' habit of using different names on different assignments meant that I didn't always know which person I was reading about even when I thought I did know who he or she was! The reader has to catch the tiniest details to know that something isn't quite right, or be left completely surprised at the reveal! The many references to [a:Agatha Christie|123715|Agatha Christie|https://d.gr-assets.com/authors/1321738793p2/123715.jpg] are definitely meaningful, and I've come to believe that I haven't read nearly enough of her work!
I've always considered Ms. Willis a cerebral author, but my emotions were heavily engaged here. The analogy of Polly, Sir Godfrey, and <i>The Admirable Crichton</i> was so apt, and that dreadful business in the Phoenix had me bawling. By the time a hero we'd grown to know and love dearly fell, and fell so, so close to home, I was a basket case.
After finishing this massive duology (which really should count as one enormous book spread across two volumes), you would think that I would be sick and tired of all things Willis and not want to read another word by her for the next year or so. Instead, I want to know, right now, what comes next. I want to read about Eileen and the Vicar, and watch Alf and Binnie grow up. I want to see Polly and Colin's relationship grow.
I imagine Ms. Willis is rather tired of all of them, though, and happy to rest for a while and remember what it is to live back in this century again. The Oxford Time Travel universe offers so many rich and fascinating possibilities for fiction, and I hope she chooses to write many more novels set in it. I'll definitely be willing to read them!
Emma @ The Movies (1786 KP) rated Death on the Nile (2022) in Movies
Feb 19, 2022
I don't like to go into a film with a negative impression... but... #NotMyPoirot #SlashTheStash.
Linnet Ridgeway goes to Poirot with fears for her safety, and that of her new husband, when an old mutual acquaintance shows up at each new location on their honeymoon.
An Agatha Christie novel always makes for a great plot, and this one has had several different adaptations over the years. Don't go into it expecting a faithful adaptation though, this one comes out a bit spicier. It also takes some liberties with Poirot's backstory, which does add some interesting context to things about him, but at the same time, it's not the source material.
As with Death Train, Death Boat has a star-studded cast. While I love most of them in other things, I found the whole dynamic to be a little all over the place. Tom Bateman and Ali Fazal were solid, Russell Brand was surprisingly good, but everyone else was either rather bland or too over the top. Then there's Kenneth... I'll give it to them, it feels wrong thinking that Poirot is sexy... but there's one moment where even I, a Ken denier, took a sharp intake of breath.
Death on the Nile comes in at 2 hours and 7 minutes, had they cut what felt like 10 minutes of Gal Gadot walking down the length of the ship, it could easily have come in under 2 hours.
I think that identifies the issue I have with these new adaptations. This one in particular has a very theatrical feel to it. A lot of the boat shots early on feel like you're watching it happen on a stage. I don't object to that style, I like watching theatre, but having it thrown in randomly threw me.
My other big gripe was the choice of shots. Death Boat really likes to not show you faces when people are talking. Watching these scenes was off-putting, it felt like they'd been re-edited and had a new audio track overlaid... badly. There's also a scene where the camera swoops backwards and forwards between the people who are talking, and after a while, I could feel the motion sickness building.
It isn't until films like this come out that you realise just how much of one is computer generated. I have to assume that the majority of this budget went on the cast, it certainly wasn't spent on the effects. The de-aging on Branagh in the opening was awful, and must have cost more than hiring a younger actor to do those scenes. The generated scenery wasn't any better, it was painfully obvious which weren't real.
Death on the Nile is, at the end of the day, another classic Christie story, and even with some butchering, there's still a great mystery to unfold. That being said, I would rather sit through one of the other adaptations again if they were all laid out in front of me.
Originally posted on: https://emmaatthemovies.blogspot.com/2022/02/death-on-nile-movie-review.html
Linnet Ridgeway goes to Poirot with fears for her safety, and that of her new husband, when an old mutual acquaintance shows up at each new location on their honeymoon.
An Agatha Christie novel always makes for a great plot, and this one has had several different adaptations over the years. Don't go into it expecting a faithful adaptation though, this one comes out a bit spicier. It also takes some liberties with Poirot's backstory, which does add some interesting context to things about him, but at the same time, it's not the source material.
As with Death Train, Death Boat has a star-studded cast. While I love most of them in other things, I found the whole dynamic to be a little all over the place. Tom Bateman and Ali Fazal were solid, Russell Brand was surprisingly good, but everyone else was either rather bland or too over the top. Then there's Kenneth... I'll give it to them, it feels wrong thinking that Poirot is sexy... but there's one moment where even I, a Ken denier, took a sharp intake of breath.
Death on the Nile comes in at 2 hours and 7 minutes, had they cut what felt like 10 minutes of Gal Gadot walking down the length of the ship, it could easily have come in under 2 hours.
I think that identifies the issue I have with these new adaptations. This one in particular has a very theatrical feel to it. A lot of the boat shots early on feel like you're watching it happen on a stage. I don't object to that style, I like watching theatre, but having it thrown in randomly threw me.
My other big gripe was the choice of shots. Death Boat really likes to not show you faces when people are talking. Watching these scenes was off-putting, it felt like they'd been re-edited and had a new audio track overlaid... badly. There's also a scene where the camera swoops backwards and forwards between the people who are talking, and after a while, I could feel the motion sickness building.
It isn't until films like this come out that you realise just how much of one is computer generated. I have to assume that the majority of this budget went on the cast, it certainly wasn't spent on the effects. The de-aging on Branagh in the opening was awful, and must have cost more than hiring a younger actor to do those scenes. The generated scenery wasn't any better, it was painfully obvious which weren't real.
Death on the Nile is, at the end of the day, another classic Christie story, and even with some butchering, there's still a great mystery to unfold. That being said, I would rather sit through one of the other adaptations again if they were all laid out in front of me.
Originally posted on: https://emmaatthemovies.blogspot.com/2022/02/death-on-nile-movie-review.html
Bookapotamus (289 KP) rated The Seven Deaths Of Evelyn Hardcastle in Books
May 29, 2018
What a ride! Wow. I'm stumped as to how to even explain how detailed and twisty and turny and clever this book is! I read somewhere that Stuart Turton had to map out an 8-day timeline with post-its marking every 2 minutes so he could keep track of everything - and wow! Just wow. I cannot even imagine the thought and preparation that went into arranging this story!
There is such creativity to this mystery - reminiscent of the best Agatha Christie novels, the book is set at Blackheath, a sprawling ancient estate, which has seen better days. But back in it's glory, almost two decades ago, there was a murder of a little boy. Now, coming up on the 20th anniversary, a whole slew of characters is gathered at the crumbling estate by the matriarch of the family, and yet another murder occurs.
Evelyn Hardcastle is the sister of that little boy, and she will die every single day until Adrian Bishop can solve the murder. He's stuck in an 8-day loop, and needs to figure out the killer and break the cycle. Oh and did I mention that every time her falls asleep, or goes unconscious, he wakes up in the body (and mind!) of a different guest?!
I loved how this all played out - Imagine waking up in an obese body that stinks and can't even get out of a bathtub without assistance! And then in that of a constable with a sharp clever mind and gorgeous fiancé, and then a drug dealer! What a ride this was! I dove right into it not knowing what to expect and breezed through the first 1/3 of it. By 2/3 in I started getting a little bit mixed up. The timeline jumps across and back the span of 8 days and you never know where in the past or future you will end up - or in whose (of 8 guests) mind/body. But by the last 1/3 - I was ravenously flipping pages to find out who killed Evelyn and the end does NOT disappoint! Wow! Again - wow!
What really cool and clever idea. I've never read anything like this and it was seriously one of the most inventive and creative murder mysteries I've ever read.
There is such creativity to this mystery - reminiscent of the best Agatha Christie novels, the book is set at Blackheath, a sprawling ancient estate, which has seen better days. But back in it's glory, almost two decades ago, there was a murder of a little boy. Now, coming up on the 20th anniversary, a whole slew of characters is gathered at the crumbling estate by the matriarch of the family, and yet another murder occurs.
Evelyn Hardcastle is the sister of that little boy, and she will die every single day until Adrian Bishop can solve the murder. He's stuck in an 8-day loop, and needs to figure out the killer and break the cycle. Oh and did I mention that every time her falls asleep, or goes unconscious, he wakes up in the body (and mind!) of a different guest?!
I loved how this all played out - Imagine waking up in an obese body that stinks and can't even get out of a bathtub without assistance! And then in that of a constable with a sharp clever mind and gorgeous fiancé, and then a drug dealer! What a ride this was! I dove right into it not knowing what to expect and breezed through the first 1/3 of it. By 2/3 in I started getting a little bit mixed up. The timeline jumps across and back the span of 8 days and you never know where in the past or future you will end up - or in whose (of 8 guests) mind/body. But by the last 1/3 - I was ravenously flipping pages to find out who killed Evelyn and the end does NOT disappoint! Wow! Again - wow!
What really cool and clever idea. I've never read anything like this and it was seriously one of the most inventive and creative murder mysteries I've ever read.
Chris Sawin (602 KP) rated Death on the Nile (2022) in Movies
Feb 10, 2022
Most of the female cast. (2 more)
Poirot's backstory.
Kenneth Branagh's mustache.
Slow-moving with little payoff. (2 more)
Nothing substantial happens for the first hour.
Not entertaining. Perfect example of first world problems.
A Drowzy Whodunit Loaded with Mediocrity
Death on the Nile is the sequel to 2017’s Murder on the Orient Express with director and lead actor Kenneth Branagh returning. The mystery thriller is based on the 1937 novel of the same name by Agatha Christie. Death on the Nile has been adapted before as a 1978 film and as a 2004 episode of the Poirot television series starring David Suchet.
The 2022 film has been completed since December of 2019. The film was moved around several times due to COVID and was pushed back even further after Armie Hammer’s abuse allegations.
Mostly occurring shortly after the events of Murder on the Orient Express, Death on the Nile offers a bit of a look into the past of Hercule Poirot (Branagh). Taking place on the Yser Bridge in Belgium In 1914, a young Poirot advises his Belgian captain to attack the Germans spontaneously without warning. The attack is a success, but Poirot’s captain triggers an explosive after their victory. The explosion leaves Poirot’s face heavily scarred and offers an explanation as to why he always has a mustache.
Poirot reunites with his friend Bouc (Tom Bateman, who also returns from Murder on the Orient Express) in Egypt. Bouc is traveling with his mother Euphemia (Annette Bening) and their friends as they celebrate the marriage of Linnet Ridgeway (Gal Gadot) and Simon Doyle (Armie Hammer). To make matters more complicated, Simon was originally romantically involved with Jaqueline (Emma Mackey) who was also a former friend of Linnet. She now scornfully follows Simon and Linnet around Egypt.
The party travels on the S. S. Karnak, a steamship, along the river Nile. A murder eventually takes place on the steamship, which ignites a desire within Poirot to discover who the killer is before more suffer the same fate.
CGI and visual effects are used to make Kenneth Branagh look younger in the opening sequence of the film. The issue is he looks almost as bad as Henry Cavill did as Superman during the reshoots for Justice League. Branagh’s upper lip is almost nonexistent during this sequence and his philtrum seems to barely move when he speaks. It’s a visual nightmare and a terrible way to jump start a murder mystery.
Poirot travels to a Jazz nightclub where he’s first introduced to Simon, Jacqueline, and Linnet. Poirot spends much of the film embracing his OCD habits and people watching. This first nightclub sequence is about ten minutes long and you’re basically forced to watch people do nothing but dance for that entire time. Armie Hammer’s overly sexual dancing combined with his heavy breathing and constant sweating with both Gal Gadot and Emma Mackey is nauseating even without taking his sexual allegations into consideration.
Nothing really happens in the film for the first hour. Death on the Nile takes its time getting to the murder as little things begin to disappear (like a tube of paint) and Simon and Linnet are nearly crushed to death by a falling rock as they’re practically mid-coitus while sightseeing some pyramids. Emma Mackey gives a particularly strong performance. She is blinded by one-sided love in the film and her performance is a combination of passion, borderline insanity, and a broken heart.
Annette Bening is so cynical that it’s humorous and Jennifer Saunders adds just enough sarcastic bite to remind us ever so slightly of Absolutely Fabulous. Letitia Wright portrays business manager Rosalie Otterbourne. Her performance is intriguing because she’s always fighting for what she feels like she’s rightfully owed; whether it’s the right amount of money for her services or her happiness away from the limelight.
Like Murder on the Orient Express and other Agatha Christie adaptations, the enticing aspect of Death on the Nile is not only its massive and recognizable cast but also the fact that the story is written in a way that everyone is a suspect. The film’s nonchalant way of meandering towards that first murder is frustrating. A deliberate pace is one thing, but Death on the Nile is boring for the most part. Poirot is asked to take a case involving Jacqueline and the safety of Simon and Linnet, but is then mocked for being heartless and not being able to solve the case sooner. The people on board are likely meant to be scared, but come off as rich people not getting what they want the instant they want it.
Death on the Nile crawls towards a resolution you don’t feel invested in. Poirot’s backstory is interesting and there are some solid performances especially from the female cast, but the film otherwise feels like an unwanted game of Guess Who after you unwillingly chug two bottles of NyQuil and are asked to predict who the killer is after two long hours of tediousness.
The 2022 film has been completed since December of 2019. The film was moved around several times due to COVID and was pushed back even further after Armie Hammer’s abuse allegations.
Mostly occurring shortly after the events of Murder on the Orient Express, Death on the Nile offers a bit of a look into the past of Hercule Poirot (Branagh). Taking place on the Yser Bridge in Belgium In 1914, a young Poirot advises his Belgian captain to attack the Germans spontaneously without warning. The attack is a success, but Poirot’s captain triggers an explosive after their victory. The explosion leaves Poirot’s face heavily scarred and offers an explanation as to why he always has a mustache.
Poirot reunites with his friend Bouc (Tom Bateman, who also returns from Murder on the Orient Express) in Egypt. Bouc is traveling with his mother Euphemia (Annette Bening) and their friends as they celebrate the marriage of Linnet Ridgeway (Gal Gadot) and Simon Doyle (Armie Hammer). To make matters more complicated, Simon was originally romantically involved with Jaqueline (Emma Mackey) who was also a former friend of Linnet. She now scornfully follows Simon and Linnet around Egypt.
The party travels on the S. S. Karnak, a steamship, along the river Nile. A murder eventually takes place on the steamship, which ignites a desire within Poirot to discover who the killer is before more suffer the same fate.
CGI and visual effects are used to make Kenneth Branagh look younger in the opening sequence of the film. The issue is he looks almost as bad as Henry Cavill did as Superman during the reshoots for Justice League. Branagh’s upper lip is almost nonexistent during this sequence and his philtrum seems to barely move when he speaks. It’s a visual nightmare and a terrible way to jump start a murder mystery.
Poirot travels to a Jazz nightclub where he’s first introduced to Simon, Jacqueline, and Linnet. Poirot spends much of the film embracing his OCD habits and people watching. This first nightclub sequence is about ten minutes long and you’re basically forced to watch people do nothing but dance for that entire time. Armie Hammer’s overly sexual dancing combined with his heavy breathing and constant sweating with both Gal Gadot and Emma Mackey is nauseating even without taking his sexual allegations into consideration.
Nothing really happens in the film for the first hour. Death on the Nile takes its time getting to the murder as little things begin to disappear (like a tube of paint) and Simon and Linnet are nearly crushed to death by a falling rock as they’re practically mid-coitus while sightseeing some pyramids. Emma Mackey gives a particularly strong performance. She is blinded by one-sided love in the film and her performance is a combination of passion, borderline insanity, and a broken heart.
Annette Bening is so cynical that it’s humorous and Jennifer Saunders adds just enough sarcastic bite to remind us ever so slightly of Absolutely Fabulous. Letitia Wright portrays business manager Rosalie Otterbourne. Her performance is intriguing because she’s always fighting for what she feels like she’s rightfully owed; whether it’s the right amount of money for her services or her happiness away from the limelight.
Like Murder on the Orient Express and other Agatha Christie adaptations, the enticing aspect of Death on the Nile is not only its massive and recognizable cast but also the fact that the story is written in a way that everyone is a suspect. The film’s nonchalant way of meandering towards that first murder is frustrating. A deliberate pace is one thing, but Death on the Nile is boring for the most part. Poirot is asked to take a case involving Jacqueline and the safety of Simon and Linnet, but is then mocked for being heartless and not being able to solve the case sooner. The people on board are likely meant to be scared, but come off as rich people not getting what they want the instant they want it.
Death on the Nile crawls towards a resolution you don’t feel invested in. Poirot’s backstory is interesting and there are some solid performances especially from the female cast, but the film otherwise feels like an unwanted game of Guess Who after you unwillingly chug two bottles of NyQuil and are asked to predict who the killer is after two long hours of tediousness.