He's one of literature's most famous detectives, and now he's back on the big screen.
Following the success of Kenneth Branagh's 2017 adaptation of Murder on the Orient Express, the director is back behind and in front of the screen at legendary Belgian gumshoe Hercule Poirot.
As hinted at the end of the previous film, Poirot's latest mystery takes place in Egypt.
We are, of course, referring to Agatha Christie's Death on the Nile.
Like it predecessor, Death on the Nile features a cast full of familiar faces (though with just three Oscar nominees among them, as opposed to the eight nominees/winners in Murder on the Orient Express).
Joining Branagh on this adventure are Gal Gadot (Wonder Woman) as wealth heiress Linnet Ridgeway; Armie Hammer (The Man from UNCLE) as the penniless but charming Simon Doyle; Emma Mackey (Sex Education) as scorned lover Jacqueline de Bellefort; the returning Tom Bateman (Snatched) as Poirot's good pal Buoc; Annette Bening (American Beauty) as his mistrusting mother Euphemia Buoc; Letitia Wright (Black Panther) and Sophie Okonedo (Hotel Rwanda) as Linnet's old friend Rosalie and her blues singer aunt Salome; Ali Fazal (Victoria and Abdul) as Linnet's accountant cousin Katchadourian; Rose Leslie (The Good Fight) as Linnet's maid; Russell Brand (Rock of Ages) as Dr Windlesham; and finally Jennifer Saunders (Absolutely Fabulous) as Marie Van Schuyler, Linnet's godmother, and Dawn French (The Vicar of Dibley) as her personal nurse Bowers.
This time around murder takes place onboard a cruise on the Nile river, but it seems to take an age for the death to actually occur.
There's plenty of sightseeing, background, and a not particularly useful prologue explaining why Poirot has such an enormous moustache, before we get into the real mystery. But once we're there it is thrilling.
All the suspects seem almost equally as likely to have killed our victim as the next, with motives and secrets in abundance.
Death on the Nile also has a little more action than Murder on the Orient Express, and, unfortunately, more clearly digitally-created backdrops. But there's nothing quite like a classic whodunnit and it's extremely fun to try and guess who the killer/s is/are throughout the course of the film.
Costume and production design are exquisite, and casting is on point.
Okonedo is a stand-out as Salome, oozing sass and sophistication.
Keep an eye out for Aussie Adam Garcia is a teensy tiny role.
