All 3 Kenneth Branagh Hercule Poirot Movies Ranked Worst To Best

Kenneth Branagh has directed three Hercule Poirot films so far and each one of them is different. But one is better than the rest, which is why we ranked all three films.

Warning: Mild spoilers for all 3 Hercule Poirot films

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Summary

• A Haunting in Venice is the strongest film in Kenneth Branagh’s Hercule Poirot franchise, thanks to its incorporation of horror and supernatural elements.

• Death on the Nile is the weakest of the three films, with underdeveloped characters, unnecessary explanations, and a slower pace.

• While Murder on the Orient Express is an elegant and faithful adaptation, it lacks intrigue and the ending does not live up to expectations.

Kenneth Branagh has directed and starred in three Hercule Poirot films, but not all of them are the same. A disturbing Venice It’s the latest murder by everyone’s favorite Belgian detective. Like the first two films, A murder on the Orient Express and Death on the Nile, A disturbing Venice was adapted from a story by Agatha Christie. Each film in the franchise features an all-star cast, a murder mystery waiting to be solved and Poirot at the center of it all, but which film reigns supreme?

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Each of Branagh’s Hercule Poirot films has something to like. Whether it’s the cast, the mystery that unfolds, the untold secrets hidden behind the lies the characters tell, or Poirot’s memorable mustache (which has its own backstory), the franchise has no shortage of entertainment. 2017 Murder on the Orient Express started things off, introducing Hercule Poirot to a new generation, A disturbing Venice mixed with supernatural and horror elements with the central murder mystery, while Death on the Nile I saw that Poirot was a little more vulnerable than usual. While each film can be enjoyed on its own, there is sure to be a favorite.

3 Death on the Nile

Death on the Nile It has its merits: a secret love affair, a dispute between friends, an heiress murdered for her money, and Poirot developing feelings for a nightclub singer. But the second film, which faced some delays due to production and the pandemic, as well as assault allegations against Armie Hammer before its release, is easily the weakest of the three. Death on the Nile it uses its screen time to provide unnecessary backstory for Hercule Poirot’s mustache, and its pacing is slower compared to the other two films.

It’s quite entertaining and there’s occasionally a sense of urgency to the proceedings, but the film’s style is undermined by underdeveloped characters and unnecessary explanations. What’s more, Poirot’s second film is not as fun as it could have been, having lost some of his confident appeal. Considering the showiness, the lovers’ quarrel and the panache that appears on occasions, Death on the Nile It may be an engaging watch, but it falls short in comparison to the other two Poirot films in the franchise.

2 Murder on the Orient Express

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Murder on the Orient Express draws the most comparisons to the book, but manages to accomplish a lot with a memorable cast, while uniquely challenging Hercule Poirot in a way that no other case has really done. Murder mysteries usually have one lone killer and sometimes two, but the first film in Branagh’s franchise takes revenge to another level. The film is elegant, with a touch of old style. It is also quite faithful to the source material, although with some differences.

But Murder on the Orient Express’ The ending doesn’t live up to the build-up and there’s a general lack of intrigue that plagues the story, with some of the characters not getting as much attention as they need. Poirot is also the least interesting to ever appear in this film. Maybe it’s because Branagh was still trying to adjust to the detective’s mannerisms, but he’s better as Poirot in the film’s sequels. However, Murder on the Orient Express It’s a strong enough entry in the franchise. It centers its mystery in a way that gets the job done, even if its execution is a bit disappointing.

1 A haunting in Venice

With A disturbing Venice, it seems that the third time is the charm. Hercule Poirot returns, but he is a little more exhausted and tormented than in the first two films. What ultimately elevates the third installment are its horror and supernatural elements, which complement the murder mystery plot very well. That also helps A disturbing Venice It is more of a loose adaptation of Christie’s Halloween party, allowing the story to go in different directions. The central story is disturbing in a good way and uses horror elements to address Poirot’s own history with death, giving it a deep look into his life.

He does it much better and more fluidly than either of them. Death on the Nile either Murder on the Orient Express. The introduction of Ariadne Oliver, a mystery novelist with a love-hate relationship with Poirot, cleverly replaces Bouc as a person from the detective’s past. She also places Poirot in a situation that threatens his own mind in the middle of an investigation, something viewers haven’t really seen in Branagh’s adaptations. The movieis chilling, and the fact that the cast is smaller than in previous films allows them to shine in every moment, all with a strong message that brings A haunting in Venice’yes coming to an end.

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