MOVIE REVIEW: A Haunting in Venice Is the Best of Kenneth Branagh’s Poirot Series

(SPOT.ph) In 2017, Kenneth Branagh directed his first film where he also played the legendary literary detective Hercule Poirot in Murder on the Orient Express alongside an A-list cast that included Johnny Depp, Judi Dench, Michelle Pfeiffer, Daisy Ridley, Penelope Cruz, Olivia Colman, and many others. It was a glossy, stylish murder mystery that earned over $350 million in the worldwide box office. While it wasn’t game-changing, it was a solid effort and overall considered a success that allowed Branagh to keep making them.

The second entry in the series was not as successful. Still boasting an A-list cast that included Annette Bening, Gal Gadot, Emma Mackey, Letitia Wright among others, Death on the Nile suffered several delays due to production issues and the COVID-19 pandemic. First set to premiere in 2019, it was delayed several times before settling on a February 2022 date. While it still had the same glossy finish and had some great production values, it wasn’t as entertaining as the first, and felt very stagnant. Box office wise, it only earned just over $130 million worldwide.

Enter A Haunting in Venice, Brangah’s third time in the Poirot moustache. This time around, he’s fresh off winning an Oscar for writing the screenplay of Belfast and adapting a very differently-toned novel from Agatha Christie. Based on Christie’s “Hallowe’en Party”, this film has a spookier and darker story, dealing with possibly supernatural occurrences. This change in tone has allowed Branagh, writer Michael Green, and the rest of Branagh’s team to experiment more with the style and look, as well as the story. The result of joining the usual Branagh-Poirot handsome production values with a more stylish and unique approach has made this series feel fresher and more exciting. A Haunting in Venice becomes Branagh’s best effort both as an actor and as a director, and while that’s not exactly a high bar, it’s still impressive and shows Branagh’s determination to make this series work.

A Haunting in Venice blends horror and mystery to make the best of the series so far

A Haunting in Venice sees Branagh’s Poirot in retirement, hiding out in the beautiful city of Venice. With classical architecture and structures towering over the water, shot equally stunning and haunting, Venice is a perfect setting for what’s to come. When an old friend, author Ariadne Oliver (Tina Fey) comes to invite the retired detective to help her with something she can’t explain, Poirot accepts but only as an observer. They arrive at a Halloween party in a long-rumored haunted house owned by Rowena Drake (Kelly Reilly), who is holding a séance to contact her daughter who had died under mysterious circumstances the year before. When famous medium Joyce Reynolds (Michelle Yeoh, also fresh from an Oscar win) starts her séance, things begin unraveling and dead bodies start appearing, and what’s real and what isn’t becomes a major problem for Poirot, forced to solve several cases once more.

What makes A Haunting in Venice the best of the series so far is just how different Branagh is willing to take the film and his character. Built on evidence and facts, a murder mystery doesn’t usually have supernatural elements, and Poirot doesn’t believe in the mystic arts at the beginning. As the film starts unspooling the mystery, we get to see Poirot question himself and his surroundings as he begins to hear voices and see ghosts. While it doesn’t dive into full horror, the occasional dips into jump scares and spooky moments is very much welcome, as they’re done with the grace and style of a sophisticated filmmaker.

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We also have more inside into Poirot himself. Starting the film with Poirot in retirement and slowly being pulled back in, there’s an internal struggle there that just wasn’t as clearly present in the first two films, which makes for a much more interesting protagonist. Why does Poirot do this? What is he willing to do to solve his cases? How much does he trust himself and his friends? This allows the audience to see more behind the moustache and accent that Branagh puts on for this role.

The production values, just like the first two films, are top-notch. Beautifully spooky production design, a fitting score from Oscar winner Hildur Guðnadóttir, and dynamic cinematography filled with canted framing, uneasy tight close-ups, and a wonderful use of light and dark by Branagh regular Haris Zambarloukos all add to the creepy vibe and atmosphere.

Of course, a Poirot film can’t be discussed without spotlighting its A-list ensemble. While maybe a touch less starry than previous efforts, there are still big names in this production. Branagh turns in his most interesting and captivating performance as Poirot. As for the others, Michelle Yeoh as a psychic/medium is an inspired piece of casting. She absolutely smashes everything that is asked from her, from the horror elements to the more dramatic ones. Tina Fey, known best for her comedic turns, is a bit of an odd choice at first, cast seemingly against-type. But the more we get to know Ariadne, and the more Branagh lets Fey play around with the character (and if you can get over the Tina Fey-ness of it all), she’s actually quite perfect for that old-timey fast-talking author role. She also surprisingly brings it during the more dramatic scenes of the film.

Another standout is French actress Camille Cottin (Call My Agent!), who plays a religious housekeeper and gets some of the more dramatic standout scenes and does it flawlessly. Also among the cast is Belfast MVP Jamie Dornan, playing a former army doctor haunted by his past. Of all the characters, his is the most complex, and he does an excellent job with the role. Another Belfast alum, Jude Hill, turns in another impressive performance as a child wise beyond his years. Kelly Reilly, playing the grieving mother, is also very, very good at what she’s asked to do.

While this is the best of the three, it’s still not perfect and Branagh has a few more steps to go before really achieving the highest highs of this genre and series. The script at times feels clunky, with dialogue that doesn’t often flow, and the overall story isn’t always making the most sense. While this tries to dig a little deeper, it’s still not at a level that is more creatively stimulating than the more successful murder mysteries of recent times that either comment on society or approach the story from a different angle. This is still a very conventional detective story, just done in a solid way. It’s easy to appreciate Branagh’s clear love for this character and this series, and A Haunting in Venice is easily a step in the right direction should he continue to create these films.

Watch the trailer of A Haunting in Venice below:

Rating: 3.5 out of 5 Spots.

A Haunting in Venice is now in cinemas. Photos and video credit: 20th Century Studios.