Death On The Nile

Death On The Nile Review: Latest Updates!!!

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Death On The Nile Updates: Many riddles swirl around Death on the Nile, director star Kenneth Branagh’s second attempt, following 2017’s Murder on the Orient Express, to sell Agatha Christie’s master sleuth Hercule Poirot — and, by extension, the Poirotverse — to a new generation of old people. (Let’s not kid ourselves: this is a movie franchise aimed for adults who may or may not be fans of superheroes and droids but still want to see a movie that wasn’t shot on an iPhone, and it should be treated as such.)To begin, consider the following: Who knew the Belgian master detective’s moustache had a backstory? While previous cinematic Poirots, such as Peter Ustinov and David Suchet, had delicately clipped, neatly waxed upper lip hair, this time around, Branagh’s version has a twotier tonsorial tsunami cresting in the centre of his face; the major debate around his Murder interpretation was whether the man was wearing or being worn by that majestic’stache.

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The sequel to that film begins with a lengthy preamble involving a young Poirot, WWI, and PTSD, all in the service of explaining how and why that monstrosity now sits over his mouth. It appears to be a clumsy attempt to give this canon worthy snoop additional character beyond his idiosyncrasies and genius level deductive talents, but it instead does the opposite: He is reduced to the sum of his traumas and tragedies, like so many other classic fictional characters. There’s a sort of payback in the final act for this tidbit of information, but it’s a baffling oversight on the part of the filmmaker. It won’t be the last time. Then there’s the question of whether celebrity driven whodunnits are still viable for big screen adaptations. Yes, Knives Out proved that if you put a dead body in the middle of a mansion and hire an eccentric detective to go fullon Sherlock on celebrity suspects, moviegoers will flock to see it — Rian Johnson’s film is a perfect blend of genre homage, gentle ribbing at the mustiness of these drawing-room thrillers, and an ungodly amount of fun. Not to mention that television is demonstrating that the old warhorse formula is still alive and well (see: The After party).

Death On The Nile

Nile’s story about a honeymoon trip on which Poirot investigates who’s responsible for that gorgeous corpse a few cabins over is a double homage to Christie’s 1930s scenarios and the mid1970s/early 1980s films based on them. It’s a lovely throwback, with a drool worthy Art Deco production design, but it also gets perilously near to feeling like you’ve stepped into a retro amusement park ride: Egyptian Adventure Cruise, complete with cobras, crocodiles, underground tombs, and falling bits of old façade. Here’s where you’ll find your ensemble cast, dressed up in glitzy cosplay and colliding into quaint-to-queasy old-fashioned tropes.

Surekha V A

My name is Surekha Venkatesh , am from Shimoga, Karnataka. I am studying a Bachelor of commerce in Jnn college, Shimoga at Kuvempu University. I am interested in cycling, cooking and reading books. And I am capable of handling a variety of responsibilities in high-pressure situations.

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