Death on the Nile (2022)

Death on the Nile is the kind of glossy, old-fashioned mystery that invites you to sink into it: a glamorous riverboat, sun-drenched Egyptian vistas, and a parade of impeccably dressed suspects who all seem to be hiding something. Kenneth Branagh’s Poirot is both meticulous and strangely tender here, anchoring the film’s swirling jealousy and high-society rancor with a detective’s calm and a wounded romantic’s gaze. The real pleasure is how the movie luxuriates in its production design and costumes while keeping the tension taut, letting the ensemble bounce off one another like champagne bubbles with a bite. If you want a gritty procedural, this isn’t it—but if you’re in the mood for an elegant, escapist whodunit with a dark undercurrent and big-screen craftsmanship, it’s an easy ticket to punch.

Death on the Nile (2022) is clearly trying to be a lavish, old-school whodunit—glamour, jealousy, and murder served with a big-screen travelogue sheen and Poirot at the center. The problem is that the film often mistakes ornament for intrigue: it’s so busy looking expensive and dramatic that the mystery can feel oddly flat, with pacing that drifts and emotional beats that don’t land as sharply as they should. If you want a snappy, playful crowd-pleaser in the vein of classic Agatha Christie adaptations, this may feel more solemn and bloated than fun. Still, if you’re happy to soak in glossy production design, a stacked cast, and a steady, straightforward investigation, it’s an easy enough ride—just don’t expect the sparkle to match the scenery.