DEATH ON THE NILE (2022)

Directed By: Kenneth Branagh
Written By: Michael Green 
Based upon the novel by: Agatha Christie 
Cinematography: Haris Zamberloukos
Editor: Una Ni Dhonghalie 

Cast: Kenneth Branagh, Gal Gadot, Annette Bening, Russell Brand, Armie Hammer, Letitia Wright, Emma Mackey, Tom Bateman, Sophie Okonedo, Rose Leslie, Dawn French, Jennifer Saunders, Adam Garcia, Michael Rouse, Alaa Safi 

While on vacation on the Nile, Hercule Poirot must investigate the murder of a young heiress.


This film was postponed for release due to the pandemic and having a troubled cast member. That was meant to be released theatrically because of the big-name cast. Though quietly released onto streaming. While it has the beauty to be a more theatrical release, by the end it feels more compact and like a television movie with grand ambitions.

This feels like the British version of the movie. As most of the cast is more British stars and recognizable actors. Maybe it helps the film be more acceptable for a foreign audience. 

As it lacks the star power of Kenneth Branagh’s previous Agatha Christie novel brought to film MURDER ON THE ORIENT EXPRESS. While he directs and stars a detective Hercule Poirot is seemingly on vacation and brought into another murder mystery.

This film is much darker in spirit than the previous film. Which although had a murder plot came off a little more lightweight and his performance was more comedic and fun. In this film, it is much more dramatic. As it feels more personal for the main character. This leaves Branagh’s Performance much more melodramatic. Even if the rest of the motivations feel a little looser.

As this film cuts closer to his character’s heart as we learn more about his past and he is much closer to the characters and one of the victims.

The film feels too long and it takes almost 45 minutes before the initial death comes to pass. Where there is a lot of build-ups and setting up animosity and motives for various characters. Even though it seems obvious from the early part of the film who the killer is.

So that it feels like we are not really waiting for who did it, but more how and why. 

The relationships throughout don’t seem very romantic or warm. Yet we are told how much they care about one another. Some of the castings seem more like a stunt. Like having comedic duo Dawn French and Jennifer Saunders in the film and giving them nothing comedic to work with or having Russell Brand play a more dramatic role. Which he does well and without his long hair you barely recognize him. 

The film feels like it had a much lower budget to work with. As it seems to be a much smaller story and more limited in locations. It also seems a little less glamorous than the first film.  So it goes the opposite direction of most sequels. 

Though still beautifully filmed. Including a shot that showcases most of the cast In one shot that is obviously more for the trailer to show off. 

The film is a good time waster. As it is mostly entertaining as it goes along. Even though it is predictable.

Grade: C

TRIPLE 9 (2017)

Directed By: John Hillcoat 
Written By: Matt Cook 
Cinematography By: Nicolas Karakatsanis 
Editor: Dylan Tichenor 

Cast: Chiwetel Ejofer, Casey Affleck, Norman Reedus, Anthony Mackie, Aaron Paul, Woody Harrelson, Clifton Collins Jr., Kate Winslet, Gal Gadot, Teresa Palmer, Michael K. Williams, Michelle Ang, E. Roger Mitchell 

A crew of dirty cops are blackmailed by the Russian mob to execute a virtually impossible heist. The only way to pull it off is to manufacture a 999, police code for “officer down”. Their plan is turned upside down when the unsuspecting rookie they set up to die foils the attack, triggering a breakneck, action-packed finale filled with double-crosses, greed and revenge.


The film feels like the story should have added up to something bigger and more meaningful. Like how each character was a puzzle piece as we wait to see how eventually they will all fit together. This is clearly a manly man film that drips of machismo though for all of it’s toughness it does take time to actually show the complexities of the situations they have found themselves in. As this is a heist film beautifully filmed but feels like a typical caper film only done more slowly and supposedly intricately. As the crew seems more forced and involves working for the Russian mob.

The film Doesn’t really highlight or fetishize the heists as much as other films. Here it is more done matter of fact. This film seems to care more about the characters involved.

The film doesn’t even seem too involved in what was the initial hook of the film. Where the cops in order to pull off a robbery plan on killing a fellow cop to distract all other police from them Pulling off a heist. Though with so many things going on in the film that all Lead to one another eventually and come to a head. Seems more realistic but also makes everything on the same level and never really that high up.

Even though most of the time it seems Chiwetel Ejofer as well as a few other characters seem to constantly be stuck between a rock and a hard place. Where it also seems the people who put them up for these robberies want them To fail as their actions seem to more sabotage them.

While the film comes off as more of an ensemble film. It also leaves a bunch of premonitions in certain characters words and actions and also while taking place in Atlanta’s it is unfortunate that while the film gives the most of characters a certain humanity. It also has most of the minority characters be criminals not necessarily evil but they seem more subordinate and characterized as the bad guys. Where as the more heroic characters of which there are only really 2 are both Caucasian though Woody Harrelson’s character isn’t the most moral he is seen as one of the good guys.

The film never truly explains the relationship between Chiwetel Ejofer and Gal Gadot’s Characters since they have a child but are they still together. Is she being dangled in front of him by her sister. Are they seperated?

Kate Winslet seems to let her outfits and make up do most of the work as she is given less to do and more exists as a presence, but clearly is having fun vamping it up more or less. She seems to be slumming here or more like a case of stunt casting. Replacing Cate Blanchett

The film stays within the films of director John Hillcoat’s usual films with pitch black stories and violent ends with characters who lore or less feel loved in. As next to LAWLESS, this is probably his most commercial film. He tends to make films that are more filled with agressions and machismo real manly men type films.

This film feels longer than it should and could easily have been shortened. As it feels like a film full of character and characters who get short changed more due to plot mechanics that while introduced in a different way feel way too familiar. The double crosses are expected but the triple crosses feel unexpected.

Woody Harrelson has fun with his role as a detective who while is no stranger to bending the rules he still manages to be a strong moral character. As he seems to have let the job get to him. Though as a veteran he also treats it more trivially. Replacing Jeff Bridges.

Casey Affleck as the new guy comes off on bit is handed a kind of bland good cop character. He was actually cast after both Shia Lebouf, Chris Pine and Charlie Hunnam dropped out of the film.

The film tries to be more about mood and atmosphere but never comes off that strong nor does it ever seem to find that right tone. As it almost tries to come off as a modern-day western but not one where you are expecting the gunfights. One that is more about bravery and strength of moral and character not to mention loyalty

Grade: C

WONDER WOMAN 1984 (2020)

Directed By: Patty Jenkins
Written By: Patty Jenkins, Geoff Johns & Dave Callahan
Story By: Patty Jenkins & Geoff Johns
Based on characters from DC Wonder Woman created By: William Moulton Marston
Cinematography: Matthew Jensen
Editor: Richard Pearson

Cast: Gal Gadot, Chris Pine, Kristen Wiig, Pedro Pascal, Robin Wright, Connie Nielsen, Lilly Aspell, Natasha Rothwell, Ravi Patel, Stuart Milligan

Diana must contend with a work colleague and businessman, whose desire for extreme wealth sends the world down a path of destruction, after an ancient artifact that grants wishes goes missing.


This is a film that is all over the place and feels bloated because of it. Making it hard to follow at times and confusing overall.

As it appears a lot of energy was thrown into this film but it feels unfocused. So much that it stands as an Art Deco piece more than anything.

As even with two villains who actually connect to each other in storylines. Kristen Wiig makes a good villain but Pedro Pascal gives the better performance.

The plotline Reminds one a lot of SUPERGIRL the movie of a seemingly desperate person who gets the power of the gods and goes crazy with power and involves a lot of gaudy designs around them. 

The quantum leap part of the film again reminds one of the 1980’s but also makes you in the audience roll your eyes.

What was charming about the first film was not only the time period and when it was set and having her obviously trying to fit into a more comedic effect but was also empowering. While allowing you to laugh along with the other characters who are encountering this confident woman and don’t know exactly how to react.

Here she is around but has grown into the time period and knows how to keep a low profile. Even though how no one Figures out her identity it vague but it is also explained that she usually destroys any evidence of herself. 

While it tries to immerse itself In the 1980’s culture and fads it seeks here more as a place for design and jokes more then it need to be. Though with the excess it does feel like a film Set during those times 

By having her love story repeat itself here it serves as a means to an end when it comes to the final act but again feels like repeating.

If that wasn’t enough while the action sequences are grand. They didn’t feel noteworthy or impressive. Strangely they feel safer. In Other words very DC Comics movie. Where it all seems to be more about marketing. They try to make it an emotional film for the characters. As well as making them identifiable, but that seems o be the weakness of most of their superhero films. Making the character identifiable.

Some might fault Gal Gadot and her performance, which I find hard as she isn’t asked to do much acting most of her screen time is more dedicated to stunts and action sequences.

One also feels that the reason the movie might be scoring so low is that it was supposed to be a major release in a year that has hardly had many. So that this was looked forward to and had a lot riding on it. Unfortunately, it didn’t satisfy many people hopes, and Interpretations 

Even the opening scene which wasn’t truly needed but allowed the film to show off other kick-ass women in an action element. Competing but not each others enemies and to teach a moral lesson of taking shortcuts. Though even the action in these scenes feels confusing as the camera is everywhere and constantly cutting. 

By the ending it felt more idealistic and more of a feel-good moment for the audience if the good we can all do. Even if set in the 1980s the days where greed and consumerism

Seemed to reign. 

Grade: D

KEEPING UP WITH THE JONSES (2016)

KEEPING UP WITH THE JONESES

Directed By: Greg Mottola
Written By: Michael Lasieur
Cinematography: Andrew Dunn
Editor: David Rennie 

Cast: Zach Galifianakis, Jon Hamm, Isla Fisher, Gal Gadot, Patton Oswalt, Ming Zhao, Matt Walsh, Kevin Dunn, Bobby Lee, Ari Shaffir 


A suburban couple becomes embroiled in an international espionage plot when they discover that their seemingly perfect new neighbors are government spies.

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