Regie:
Kenneth BranaghDrehbuch:
Michael GreenKamera:
Haris ZambarloukosMusik:
Patrick DoyleBesetzung:
Kenneth Branagh, Gal Gadot, Armie Hammer, Tom Bateman, Letitia Wright, Emma Mackey, Sophie Okonedo, Russell Brand, Annette Bening, Ali Fazal, Rose Leslie (mehr)Streaming (6)
Inhalte(1)
Der Ägyptenurlaub des belgischen Meisterdetektivs Hercule Poirot (Kenneth Branagh) an Bord eines mondänen Flußdampfboots wandelt sich zu einer erschütternden Suche nach einem Mörder, als die idyllischen Flitterwochen eines perfekten Ehepaars ein jähes und tragisches Ende erfahren. Erzählt vor der epischen Kulisse endloser Wüstenlandschaften und den majestätischen Pyramiden von Gizeh, versammelt diese Geschichte ungezügelter Leidenschaft und lähmender Eifersucht eine kosmopolitische Gruppe makellos gekleideter Reisender und so viele raffinierte und bösartige Handlungswendungen, dass das Publikum bis zur letzten schockierenden Auflösung rätseln und mitfiebern wird. (Leonine)
(mehr)Kritiken (12)
I'm giving it one more star than Murder on the Orient Express, mainly because Death on the Nile is not just "another Hercule Poirot mystery", but it's a Hercule Poirot mystery that is about Hercule Poirot in addition to the search for the murderer. Kenneth Branagh and co. tried that last time, but it's only here that it works – this time I was as interested in Poirot as I was in how the case was developing, and I didn't really care that the case was notorious and I already knew the killer. With Death on the Nile, Branagh's Poirot becomes the second best Poirot, and the film's conclusion, its last shot, is already one of the most memorable cinematic moments for me.
()
"Tod auf dem Nil" hatte schon immer etwas Luxuriöses, Fantastisches, Erstaunliches an sich. Wir haben sogar bis 1985 auf eine Übersetzung des Originalromans von 1937 in tschechischer Sprache gewartet, aber schon vorher hatte die Verfilmung mit Ustinov den Roman berühmt gemacht. Später gab es die Serie mit Suchet. Und in diesem Jahr können wir die hervorragende neue Version mit Branagh abhaken, auf die wir die gesamte Pandemie über sehnsüchtig gewartet haben. Natürlich war es ideal, sich den neuen Mord im Orient-Express (2017) in Erinnerung zu rufen, um ein besseres Erlebnis zu haben. Ich wünschte, es gäbe noch ein paar wunderbare Spielfilme wie diesen, denn Branaghs Verhältnis zur Welt von Agatha Christie ist nicht nur klug, sondern auch respektvoll und mutig. Er bietet atemberaubende Aufnahmen der gesamten Nilkreuzfahrt, Regiearbeit mit sehr interessanten Schauspielern, neben der statuesken Gal Gadot gibt es die klassisch perfekte Annette Bening, das Paar Jennifer Saunders und Dawn French... Das Sahnehäubchen war eine stilvolle Vorführung im Boutique Cinema Přítomnost.
()
Es ist nicht so eine oberflächliche, glänzende Starshow ohne Mehrwert wie der vorherige Mord im Orient Express, der mich völlig kaltließ. Diesen Film habe ich im Vergleich dazu im Kino genossen. Die Schöpfer haben hier keine Angst, die Handlung leicht zu verändern, und so war ich am Ende auch mit dem Verlauf überrascht, trotzdem ich das Ende der Geschichte kannte, in dem wir uns auch auf eine unverblümte, leicht pessimistische Botschaft einstellen können. Daumen hoch dafür.
()
Nachdem ich bereits Verfilmungen mit Ustinov und Suchet gesehen hatte, ging ich an den neuesten Tod auf dem Nil heran wie an ein richtig beschriebenes Blatt "Papyrus". So konnte ich die Krimihandlung nicht ganz wertschätzen, weil ich wusste, wer hinter allem steckt - aber das ist mein Problem. Daher habe ich mich mehr auf die schauspielerische Leistung, die visuelle Präsentation und mögliche Neuerungen gegenüber der Vorlage und früheren Filmen konzentriert. Schauspielerisch wirkte Tod auf dem Nil auf mich verlegen, auch was die einzelnen Leistungen angeht. Visuell hat der Film durchaus etwas zu bieten, allein schon durch die Verortung der Handlung in Ägypten und auf einem Schiff, aber einige Szenen wirken zu künstlich und aufgesetzt. Branaghs Verfilmung unterscheidet sich vom Konzept her deutlich von der Buchvorlage: Die Eröffnungssequenz, die den Grund bzw. die Ursache dafür, dass Poirot Schnurrbart trägt, zeigt, hätte ich gerne gekürzt oder als Rückblende in die Handlung eingefügt, und die unnötige Sexualisierung der Figuren hat mich etwas gestört (sinnliche Spannung lässt sich auch weniger offensichtlich aufbauen). Andererseits störten mich die geringfügigen Änderungen an den Figuren in Bezug auf Geschlecht, Opfer usw. nicht. Tod auf dem Nil ist eine ansprechende und moderne Version von Poirot, die allerdings in den 1930er Jahren spielt und sicherlich vor allem denjenigen gefallen wird, die mit der Vorlage und den anderen Filmen nicht vertraut sind, ich persönlich hatte jedoch den Eindruck, dass man es auch anders (und besser?) hätte machen können.
()
At the beginning Branagh unnecessarily illuminates the reason for the moustache, he probably thinks we viewers are complete idiots, and then in artificial digital sets, coloured like gypsies' nails, he decides to desecrate an otherwise quite nice piece of literature. I wouldn't have expected this from him, someone with a theatre background.
()
I really like the detective genre and just like I was looking forward to Death on the Nile from the moment I knew Kenneth Branagh was preparing for it. His portrayal of Hercule Poirot is great, as well as the film adaptation which is properly opulent and grandiose. But that is probably also a stumbling block. Although Agatha Christie's stories are detective at the highest level, they are still rather chamber matters. This is not entirely applicable here. You cannot take your eyes off the beautiful camera that realistically advertises Egypt in the 1930s. Similarly, the atmosphere of that time is great, although Kenneth Branagh could have toned down the amount of sexual tension a bit. The actors are a bit more complicated, mainly because you can see how theatrically they all overplay, in order to really irritate you (of course, except for Hercule Poirot, whose theatricality you will gladly forgive, as it somewhat belongs to him). Their roles, they were a plethora of unnecessary people. If the steamboat sank and everyone drowned together, nobody would actually care and the movie would end before anything even happened. The biggest surprise for me, however, was definitely Russell Brand, whom I didn't recognize until he spoke, and Emma Mackey, who reminded me a lot of Emma Stone. The film is definitely an interesting experience, but the older adaptations remain unmatched for me.
()
Hercule Poirot for the second time, and another borefest. Murder on the Orient Express is one of the few films where I fell asleep in the cinema, and Death on the Nile has a similarly leisurely pace, but thankfully it didn't cost me my cinema ticket. Nothing happens for an hour, nothing at all. They introduce uninteresting characters in an uninteresting way with uninteresting dialogue, but fortunately in a fairly attractive setting (Egypt, the Nile) – a minor plus point compared to a Train – but I still found it woefully underwhelming. I don't find Hercule Poirot interesting as a detective, he doesn't have any gripping, revolutionary investigative methods, nothing to stand out, he's an intelligent gentleman doing his job but it doesn't add much to the viewing experience. The wait for a murder here is longer than the wait for a payday, and on top of that it's just the usual uninterestingly rendered murders in every other B-grade crime series. I don't see how a fan of Se7en, Hannibal and the like, where everything from the murders to the actual investigation works, can be satisfied with the outcome here. I was counting on at least the final reveal, where an interesting twist might come, but even that is readable from the opening minutes, even without knowing the source material. For me, the prototype of the most useless and least attractive crime drama that the world may see. Only pensioners can be entertained by this. Decent visuals, fine actors, but everything else completely passed me by both cinematically and as a viewer. Story 3/5. Action 0/5, Humour 2/5, Violence 1/5, Fun 2/5 Music 3/5, Visuals 4/5, Atmosphere 3/5, Suspense 2/5, Emotion 2/5, Actors 3/5. 4/10.
()
Perhaps I liked this even more than Orient Express. Branagh is excellent as Poirot and his black and white flashback is the most powerful scene of the entire movie. Although your can hear the paper rustling as for the detective crime plot, the acting ensemble gets the very most out of it. Emma Mackey is just fantastic. And we get to see Armie the Cannibal in his last role as well. Really, really good.
()
At times Death on the Nile looks like a modern theatre play, at times like a largely impressive colouring book, which is inappropriate for a film of this type. The whole thing is a little bit flat, sweaty, going for power, or rather for effect. Branagh's Poirot is OK, but the rest of the cast is mostly jerking and prancing around. What's missing are real visuals, decent camera work, real sets and, most importantly, a better plot.
()
An extremely precisely executed whodunit, where I also experienced a rather strange and welcome paradox – I had not read the book and did not know the outcome, but I guessed the culprit quite soon after the fatal act, and it didn’t bother me at all and it didn’t seem like a weakness, but an intention, because Branagh wonderfully focuses the attention on the process of accumulating clues rather than deepening the mystery. Throughout the film, we’re almost completely aligned in our knowledge with Poirot, who sees or hears everything (and when he lies drunk outside the action, he hears everything from innocent and reliable witnesses) and we deduce with him – and can also suspect with him – who is behind everything, but concentrate only on finding the evidence scattered all over the mise-en-scène (or rather, missing from it – the red paint, the lost scarf), which the script brilliantly and rhythmically signifies, as well as the traditionally convoluted mutual past of the actors. Guessing the ending, then, isn't the film's fault, but perhaps its dominant feature – that it can be this entertaining and subtle just in the way it connects the viewer to the investigating protagonist (even emotionally, thanks to the framing prologue and epilogue) is something I really praise Kenneth for. Very nice visuals and great cinematography, which is equal to Steven Spielberg's works in the sophistication of space. I’m already looking forward to my impressions after a second screening. 90 %
()
Murder on the Orient Express remains unbeaten. Kenneth Branagh truly nailed everything he touched in that film. Even the ending caught me by surprise, which is rare for me. However, Death on the Nile suffers on multiple fronts. The audiovisuals are mostly above average, but there are moments where even that falters (the CGI is really obvious, which is disappointing considering the budget). At least the attractive setting of the photogenic Nile river in Egypt helps to balance it out a bit. The acting is the biggest plus of this film adaptation. Branagh shines again, but the rest of the ensemble also delivers high-quality performances. The dialogues are on point too. But let's be honest, the ending felt hastily thrown together, and it seemed incredibly rushed to me. It's a shame. It's a watchable crime flick... definitely... but don't expect more than that. For me, it's a 6/10.
()
Unusually personal considering the character of Poirot, however the pre-title sequence in the trenches is one of the most powerful. It's actually takes a while to get going, it's just that Kenneth Branagh has the whole thing so beautifully shot and voiced that there’s not so much as a though of boredom. The seemingly drawn-out exposition in particular starts to make very good sense later on, and once the anticipated "whodunit" kicks in, it picks up in a big way. All in all, this is a really well done mainstream piece that respectably draws on its classic source material while being utterly professional and ultra-modern in its portrayal. If Branagh delivers another Poirot case in a similar style a few years from now, I’m definitely on it. [75%]
()
Werbung