Death on the Nile (2022) 1080p | 720p | 480p BluRay [Hindi ORG (DD 5.1) + English]

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Download Death on the Nile 2022 Full Movie Hindi + English – User Reviews:

1- After all the delays (this was scheduled for December 2019, even before the pandemic!), the Armie Hammer scandal and after all this time I almost forgot Poirot was to return. But once I finally saw this movie, I felt nothing. It’s directed with a classy style but with too much of CGI and modern visuals and that mix is jarring. The performances are not that good to me (Benning may be my favourite, just her) and the storyline has a few moments and a watchable resolution but the pacing drags a lot on its first hour to me. I wanted it to be better or as decent as ‘Orient Express’, but clearly it was not. I yet recommend everyone to see the movie and judge by themselves. It’s just I felt nothing watching it and that’s a shame (after all the waiting) and a sadly steady pattern very much present in mainstream nowadays.

2- My name is Hercule Poirot, and I am probably the greatest detective in the world,” Kenneth Branagh shout in ‘Murder On The Orient Express’ (2017) only to make sure that you heard it, or was he sure that we wouldn’t notice it? Sidney Lumet adapted Agatha Christie’s 1934 novel of the same name very nicely, and then John Guillermin followed it up with ‘Death On The Nile’ (1978). Kenneth Branagh’s remake of 2017 was slightly misjudged with the main theories, making it an underwhelming flick, but still a fine one-time watch. Now, he is back again as Hercule Poirot, with a new cast and a few changes here and there. Unfortunately, he didn’t have any legendary stars to make his films memorable, like we had certified legends such as Lauren Bacall, Ingrid Bergman, and Bette Davis in those two films of the 70s. This new version of Agatha Christie’s popular novel of 1937 comes with a few shortcomings and has no nostalgic moments, but is definitely watchable with the one and only condition that you must be a first-timer to enjoy it. It may not work for the old-timers who have seen the 1978 film, but for novel readers, it’s not a big loss.

The last scene in ‘Murder On The Orient Express’ left me confused. As I remember, the messenger tells Hercule to leave at once to solve ‘the murder on the bloody Nile’. What’s that? The murder hasn’t even been committed yet, and the messenger knows it, and what’s more funny is that Poirot knew it even before his expedition. Wohh, such a big loop! Anyway, John Guillermin’s film begins with a love-triangle, and naturally, Poirot doesn’t know it. Interestingly, Branagh had different plans. He first witnesses how the love triangle of Linnet Ridgeway, Jacqueline Bellefort, and Simon Doyle was formed (you might go on scratching your head over that), and then joins the wedding party of Simon and Linnet on the bloody Nile.

There is no such thing as spoilers for Americans as they have seen multiple adaptations of the novel on stage, screen, and TV. But let me keep this review spoiler-free for our Indian audience. The happy surroundings of the cruise are destroyed after one of the passengers is found murdered. Our famous Belgian detective, Hercule Poirot, is entrusted with the important task of identifying which one of the passengers is the killer before they strike again. With the help of an engaging screenplay in the second half, this murder mystery manages to keep you hooked till the end.

Death On The Nile has an ensemble cast of new-age stars; hence, it fails to create that nostalgia. The film is entirely ruled by Kenneth Branagh, an actor! His screen presence is as good as any actor who has previously played the iconic Hercule Poirot. Comparisons aside, this man definitely makes this character special. He literally lifts this film up on his strong shoulders, and if it weren’t for his flawless speeches, I can’t imagine how deep this so-called mystery would have been drowned in the Nile.

Gal Gadot, Armie Hammer, and Emma Mackey share a few steamy scenes early on and, to some extent, until the halfway point. That predominance disappears as we head to the murder thing, and then there’s no more fun for you (if you expect it to continue). Gadot seemed to be overtaking everyone except Branagh (of course, he is The Detective), but only until we know what happens to her later. She might have dominated more but succumbed to screen space or, the best I can say, to her character. Armie Hammer and Emma Mackey looked fine as far as their characters go. However, it could have been better. The supporting cast, oh sorry, the main cast of Tom Bateman, Annette Bening, Russell Brand, Ali Fazal, Dawn French, Rose Leslie, Sophie Okonedo, Jennifer Saunders, and Letitia Wright add whatever was possible up to their potential.

A decade old, Michael Green has written a script that offers something new, even to seasoned viewers. Even Christie herself would have found some new characters. You see, it’s on that level. But Green, why didn’t you pay more attention to the details? Especially while adding the new characters with that forgettable emotional touch. It’s unpredictable sometimes, but it’s also damn predictable at the same time. Who forced you to keep this balance? Heavier weightage on the side of unpredictability would have helped, definitely. By the way, Haris Zambarloukos has done a fab job. Those frames of Ramses, Pyramids and Nile with a yellowish orange layer, I mean, just wow man. Not to forget Doyle’s score, even though it’s a little irritating sometimes. Kenneth Branagh as a director makes the same mistakes he made with Murder On The Orient Express. But is he to blame if the same story has been adapted in better manners even before he started his career? On the positive side, Branagh also repeats the same glories of the thrilling finish. One must appreciate that. This man knows how to take things forward and particularly how to end them. Death On The Nile may have a few shortcomings, but it is not a bad product or even average. For first-timers, it has everything that you expect from a perfect murder mystery. Overall, not flawless, but certainly yet another fine adaptation of Agatha Christie’s trademark material.

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