Popcorn Perspectives with Danny Minton
Week of February 7, 2022
Death on the Nile
Rated PG-13 for violence, some bloody images and sexual material
Rotten Tomatoes Score: 68% at time of writing
In Theaters
From director and star Kenneth Branagh (who just happened to get a full set of Oscar noms for Best Picture, Best Director and Best Original Screenplay this week) comes this sequel to the 2017 Agatha Christie mystery Murder on the Orient Express where the world-famous detective Hercule Poirot finds himself on a boat on the Nile at the same time a gruesome murder takes place. While not quite as A-list star studded as the first film, the cast here is at least very recognizable with Gal Gadot in the lead as a wealthy businesswoman with a new husband and lots of people who seemingly hate each other along for the ride during their honeymoon. The first hour is at times beautiful to look at but still tedious to sit through as you try to figure out the crime before it takes place. But once it does, the plot picks up full steam ahead until the crimes are fatefully solved. I found the last outing to be quite annoying, so I was refreshed that this one was less so, and by then end it even comes off as pretty enjoyable. There are lots of problems with the script and the acting, especially in the first hour, but smoothing things over are the impressive production values, especially the set design, cinematography and a lovely score by Branagh’s long-time friend and collaborator Patrick Doyle. B
Blacklight
Rated PG-13 for action, strong violence and language
In Theaters
Tell me if you’ve heard this one before: Liam Neeson plays a government-trained fixer who goes after the men that threaten his daughter’s and granddaughter’s lives. Okay – close enough. You would probably be surprised if it weren’t Neeson in the role. Being that it is directed by Ozark creator Mark Williams, you would expect a surprise here and there with maybe enough twists that you forget its lack of originality. But you’ll only be disappointed by that expectation. Instead, all we get here is a paint by numbers government thriller where the actors are either misdirected, completely phoning in their parts, or probably both. The cardboard characters get zero help from Neeson or his boss/enemy Aidan Quinn, who both throw their talents out the window, along with the forgettable supporting cast. But it’s not all bad – at least I have a solid candidate for worst picture of the year, if I don’t scrub it out of my mind come December. F