So, here we go again!
Hello fellow film lover! Welcome back after yet another long stint battling logic and how to continue watching movies in a theatre with the existence of this petty virus.
It's been a long six months absence since our last review, and we are so excited to welcome you back with a film that, like so many of us have been feeling, has longed to see the daylight. Due to arrive in cinemas since 2019 (back when film delays used to happen not because of world threatening virus'), Death on the Nile has had its fair share of misfortunes.
As you all may be wondering, the film industry is changing, and rather quickly, at that. With all that has been happening over the last two years, all it seems we are able to do is roll with the punches, adapt and evolve, especially when it comes to cinema and our deep, long love for it.
As time passes and the clock ticks, we always find ourselves constantly adapting to the changing landscape and expectations for cinema. For a while, after the strength and importance of streaming services, it seemed as though, cinemas as we knew them, and movie theatres, we're on their way out. That was, until, one friendly neighbourhood Spider-Man came and saved the day. After the massive commercial success of Spider-Man: No Way Home, a film that could be argued, single-handedly, saved movie theatres as we know them, the relevance and importance of going to the movies has never been more dire right now.
Fast forward a couple months, and February begins its reign with a film that has been waiting nearly three years to get the spotlight. The delay ridden Death on the Nile, the unexpected sequel to Kenneth Branagh's surprise hit Murder on the Orient Express, finally arrives. But, aside from its cliched, by the number whodunit narrative, Death on the Nile provides audiences with yet another stark switch happening in the film industry today.
After the rape allegations of Armie Hammer, Nile has been in release limbo for a long time now. Yet, despite the final verdict on Hammer and the allegations as a whole, Hammer was not taken out or replaced in the film, despite the film's lengthy delay. Unlike All The Money In The World, Fantastic Beasts: The Secret of Dumbledore and other huge blockbuster endeavours that re-cast their lead stars after similar allegations and despite their star power, Nile decided to keep Hammer on the bill, in the film and still credited fully in the picture. Sure, he may not get the most promotion in the commercials and hasn't seen the light of day in years, but Hammer still occupies most of the picture, seeing he has a crucial role as the main protagonists love interest and eventual husband. Who would have thought, that after a few couple years of the #METOO movement in Hollywood, the response and importance of such a stance in the industry, would die down so quickly. Ironically enough, to a celebrity and star being known for being a troublemaker, womanizer and nuisance on set with his cast and crew.
Yet, aside from all the drama and politics of the film, the truth of the matter is, Death on the Nile isn't going to single-handedly save movie theatres, nor will it revive a very lacklustre February for the movie industry and it won't revive any careers either. Death on the Nile is a run of the mill whodunit with some fun moments that include some mild twists, shallow turns and expectedly unexpected narrative tropes that we have all seen many times before. Is it entertaining, absolutely; but does solely entertaining cut it in 2022? In a time where films means so much more, in a time when nostalgia are studios main star, reminiscing on the glory days and bringing some classics back and reviving them is perhaps why audiences are so keen on going back to the movies? Just like old times. Just look at Jackass: Forever, Ghostbuster: Afterlife and Spider-Man: No Way Home as clear cut examples.
No one expected Death on the Nile to take this long to release, especially not its star and director Branagh; whose sights couldn't be further from the picture, given his recent Oscar nominations and critical praise for his semi-autobiographical indie darling Belfast taking much of his time and attention now a days (and for good reason).
Death on the Nile is a film that passes time. Like a lazy river of emotions, action, pacing and character development, Death on the Nile is another stagnant attempt of studios jamming as many celebrities and stars into one picture, and wishing for a hit.
Hello fellow film lover! Welcome back after yet another long stint battling logic and how to continue watching movies in a theatre with the existence of this petty virus.
It's been a long six months absence since our last review, and we are so excited to welcome you back with a film that, like so many of us have been feeling, has longed to see the daylight. Due to arrive in cinemas since 2019 (back when film delays used to happen not because of world threatening virus'), Death on the Nile has had its fair share of misfortunes.
As you all may be wondering, the film industry is changing, and rather quickly, at that. With all that has been happening over the last two years, all it seems we are able to do is roll with the punches, adapt and evolve, especially when it comes to cinema and our deep, long love for it.
As time passes and the clock ticks, we always find ourselves constantly adapting to the changing landscape and expectations for cinema. For a while, after the strength and importance of streaming services, it seemed as though, cinemas as we knew them, and movie theatres, we're on their way out. That was, until, one friendly neighbourhood Spider-Man came and saved the day. After the massive commercial success of Spider-Man: No Way Home, a film that could be argued, single-handedly, saved movie theatres as we know them, the relevance and importance of going to the movies has never been more dire right now.
Fast forward a couple months, and February begins its reign with a film that has been waiting nearly three years to get the spotlight. The delay ridden Death on the Nile, the unexpected sequel to Kenneth Branagh's surprise hit Murder on the Orient Express, finally arrives. But, aside from its cliched, by the number whodunit narrative, Death on the Nile provides audiences with yet another stark switch happening in the film industry today.
After the rape allegations of Armie Hammer, Nile has been in release limbo for a long time now. Yet, despite the final verdict on Hammer and the allegations as a whole, Hammer was not taken out or replaced in the film, despite the film's lengthy delay. Unlike All The Money In The World, Fantastic Beasts: The Secret of Dumbledore and other huge blockbuster endeavours that re-cast their lead stars after similar allegations and despite their star power, Nile decided to keep Hammer on the bill, in the film and still credited fully in the picture. Sure, he may not get the most promotion in the commercials and hasn't seen the light of day in years, but Hammer still occupies most of the picture, seeing he has a crucial role as the main protagonists love interest and eventual husband. Who would have thought, that after a few couple years of the #METOO movement in Hollywood, the response and importance of such a stance in the industry, would die down so quickly. Ironically enough, to a celebrity and star being known for being a troublemaker, womanizer and nuisance on set with his cast and crew.
Yet, aside from all the drama and politics of the film, the truth of the matter is, Death on the Nile isn't going to single-handedly save movie theatres, nor will it revive a very lacklustre February for the movie industry and it won't revive any careers either. Death on the Nile is a run of the mill whodunit with some fun moments that include some mild twists, shallow turns and expectedly unexpected narrative tropes that we have all seen many times before. Is it entertaining, absolutely; but does solely entertaining cut it in 2022? In a time where films means so much more, in a time when nostalgia are studios main star, reminiscing on the glory days and bringing some classics back and reviving them is perhaps why audiences are so keen on going back to the movies? Just like old times. Just look at Jackass: Forever, Ghostbuster: Afterlife and Spider-Man: No Way Home as clear cut examples.
No one expected Death on the Nile to take this long to release, especially not its star and director Branagh; whose sights couldn't be further from the picture, given his recent Oscar nominations and critical praise for his semi-autobiographical indie darling Belfast taking much of his time and attention now a days (and for good reason).
Death on the Nile is a film that passes time. Like a lazy river of emotions, action, pacing and character development, Death on the Nile is another stagnant attempt of studios jamming as many celebrities and stars into one picture, and wishing for a hit.