Search
Embark: User friendly personalised nautical charts
Navigation and Travel
App
Embark gives you FREE and updated charts, crafted on data from the Hydrographic Offices. A smooth...
Bob Mann (459 KP) rated The Hitman's Bodyguard (2017) in Movies
Sep 29, 2021
A plethora of clichés.
2017’s summer blockbusters fizzle to a halt with this formulaic action comedy. Ryan Reynolds (“Deadpool“) plays Michael Bryce: a cocksure “Triple A rated” bodyguard, always planning three steps ahead so that he can protect his clients without killing anyone in the process. With such arrogance, a fall is inevitable. On the other side of the legal scales is Darius Kincaid (Samuel L Jackson, “The Hateful Eight“), a contract killer who always gets his man. But the incarcerated Kincaid is offered a deal to release his equally incarcerated wife Sonia (Selma Hayek) in return for testifying against the fearsome Belarus president Vladislav Dukhovich (Gary Oldman, “Dawn of the Planet of the Apes”), on trial for war crimes at The Hague. An Interpol team led by Bryce’s’s ex-squeeze Amelia Roussel (the striking Elodie Yung) now have to get Kincaid to Belgium unscathed with Dukhovich’s well-trained and well-armed thugs stopping at nothing to ensure he won’t be there to testify. Fate transpires that Bryce and Kincaid become an unlikely team in trying to bring Dukhovich to justice.
After losing your no claims bonus, hysterical laughter is the only way forwards. Ryan Reynolds and Samuel L Jackson.
This is a movie whose script seems to have been glued together from a patchwork of other movie scenes:
– the bad guy / bad guy partner relationship of “The Nice Guys“. Check.
– the street ambush of “Clear and Present Danger”. Check.
– the Amsterdam boat chase of “Puppet on a Chain”. Check.
– the comedic bar-room brawl from “Airplane”. Check.
Many of the action scenes are done with panache and some great stunt work. But it’s all stuff we’ve seen countless times before, so what is needed for differentiation is the relationships between Bryce and Kincaid: this needs to be the cornerstone of the film. But it just doesn’t quite work. Jackson’s contribution is never in doubt, even though we’ve seen this motherf-ing shtick countless times before: he’s still magnetic, charismatic and a joy to watch. But unfortunately Reynolds just doesn’t deliver the acting goods to make the banter believable: there is a reason “Deadpool” is his best film – he wears a mask for most of it! His ‘puppy-dog look’ gets rolled out multiple times, but it’s unconvincing in the extreme. Together they are no match for Gosling/Crowe in “The Nice Guys“.
Nun but the brave. Jackson (if not Reynolds) get happy clappy.
On firmer ground is the quirky relationship between Mr and Mrs Kincaid. Although sharing limited screen time together, Hayek and Jackson spark off each other wonderfully. Seeing Selma Hayek in uncharacteristically sweary and belligerent mode was highly entertaining (although it’s worth commenting that my wife took great offence to the ‘comic’ bullying of an overweight cellmate).
“I had to ask the guy next to me to pinch me to make sure I wasn’t dreaming” – the future Mr and Mrs Kincaid meet in a rough place… the seediest dive on the wharf.
Elsewhere in the acting roll call, Elodie Yung delivers just the right measure of cuteness, toughness and passion as Roussel, but Oldman delivers a full-on retread of his Ivan “Get off my plane” Korshunov from “Air Force One”. There is also a change to Oldman’s character’s face at the end of the film in the form of a rampant skin complaint which is ‘explained’ by a clumsily inserted news item about an “attempted poisoning”: it’s such a clunky and bizarre addition to the script that it made me wonder whether the actor has some unexpected ailment (like shingles) during filming…. but I can see nothing related to this online.
The striking Elodie Yung as the Interpol agent Roussel.
The screenplay by relative newcomer Tom O’Connor bumps along from implausible action scene to implausible action scene, with more that its fair share of ‘WTF’ moments. For example, after a random chase through multiple Amsterdam alleys and shops, Jackson pulls up outside the very DIY shop Reynolds ends up in to pick him up! The script is also tonally uneven throughout: given this is supposed to be an “action comedy” the action is often brutal and unpleasant and the comedy – in the main – just not funny enough. (About the funniest thing in the film are the most ineffective sub machine guns known to man, most notably in the mildly ludicrous, if well staged, boat chase scene!)
An entertaining cameo from Richard E Grant as a businessman in danger.
The film also manages to offend, in more ways than the 15-rated violence and language used: I’m not sure WHEN this movie was actually filmed, but the use of an articulated lorry as a terrorist weapon towards the end of the film is certainly in very poor taste after the events of Nice, London and Barcelona. Not appreciated.
Directed by Patrick Hughes (“The Expendables 3″…. say no more) this hodge-podge of a flick is sporadically entertaining, but is one I will struggle to remember in a couple of months time.
After losing your no claims bonus, hysterical laughter is the only way forwards. Ryan Reynolds and Samuel L Jackson.
This is a movie whose script seems to have been glued together from a patchwork of other movie scenes:
– the bad guy / bad guy partner relationship of “The Nice Guys“. Check.
– the street ambush of “Clear and Present Danger”. Check.
– the Amsterdam boat chase of “Puppet on a Chain”. Check.
– the comedic bar-room brawl from “Airplane”. Check.
Many of the action scenes are done with panache and some great stunt work. But it’s all stuff we’ve seen countless times before, so what is needed for differentiation is the relationships between Bryce and Kincaid: this needs to be the cornerstone of the film. But it just doesn’t quite work. Jackson’s contribution is never in doubt, even though we’ve seen this motherf-ing shtick countless times before: he’s still magnetic, charismatic and a joy to watch. But unfortunately Reynolds just doesn’t deliver the acting goods to make the banter believable: there is a reason “Deadpool” is his best film – he wears a mask for most of it! His ‘puppy-dog look’ gets rolled out multiple times, but it’s unconvincing in the extreme. Together they are no match for Gosling/Crowe in “The Nice Guys“.
Nun but the brave. Jackson (if not Reynolds) get happy clappy.
On firmer ground is the quirky relationship between Mr and Mrs Kincaid. Although sharing limited screen time together, Hayek and Jackson spark off each other wonderfully. Seeing Selma Hayek in uncharacteristically sweary and belligerent mode was highly entertaining (although it’s worth commenting that my wife took great offence to the ‘comic’ bullying of an overweight cellmate).
“I had to ask the guy next to me to pinch me to make sure I wasn’t dreaming” – the future Mr and Mrs Kincaid meet in a rough place… the seediest dive on the wharf.
Elsewhere in the acting roll call, Elodie Yung delivers just the right measure of cuteness, toughness and passion as Roussel, but Oldman delivers a full-on retread of his Ivan “Get off my plane” Korshunov from “Air Force One”. There is also a change to Oldman’s character’s face at the end of the film in the form of a rampant skin complaint which is ‘explained’ by a clumsily inserted news item about an “attempted poisoning”: it’s such a clunky and bizarre addition to the script that it made me wonder whether the actor has some unexpected ailment (like shingles) during filming…. but I can see nothing related to this online.
The striking Elodie Yung as the Interpol agent Roussel.
The screenplay by relative newcomer Tom O’Connor bumps along from implausible action scene to implausible action scene, with more that its fair share of ‘WTF’ moments. For example, after a random chase through multiple Amsterdam alleys and shops, Jackson pulls up outside the very DIY shop Reynolds ends up in to pick him up! The script is also tonally uneven throughout: given this is supposed to be an “action comedy” the action is often brutal and unpleasant and the comedy – in the main – just not funny enough. (About the funniest thing in the film are the most ineffective sub machine guns known to man, most notably in the mildly ludicrous, if well staged, boat chase scene!)
An entertaining cameo from Richard E Grant as a businessman in danger.
The film also manages to offend, in more ways than the 15-rated violence and language used: I’m not sure WHEN this movie was actually filmed, but the use of an articulated lorry as a terrorist weapon towards the end of the film is certainly in very poor taste after the events of Nice, London and Barcelona. Not appreciated.
Directed by Patrick Hughes (“The Expendables 3″…. say no more) this hodge-podge of a flick is sporadically entertaining, but is one I will struggle to remember in a couple of months time.
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.