A Haunting in Venice – Review
103 Minutes, Rated PG-13
Written by Michael Green (from Agatha Christie)
Directed by Kenneth Branagh
**NOTE: You can read Mark’s review below (check back for a link to Ryan’s review when it drops), then listen or watch as he and Ryan discuss the film in more depth. Remember, though, you can listen to all our discussions of this and every other movie directly over on ACAST. Stay tuned.**
Synopsis:
In post-World War II Venice, Poirot, now retired and living in his own exile, reluctantly attends a séance. But when one of the guests is murdered, it is up to the former detective to once again uncover the killer.
After resurrecting the venerable character of Hercule Poirot in 2017’s Murder on the Orient Express, then expanding his cast of characters in 2022’s sequel Death on the Nile, director Kenneth Branagh returns for a third time as the famous detective for the newest installment, A Haunting in Venice.
Based on the novel Halloween Party, the film has ben relocated from the English countryside to the titular Italian city of Venice. Given this film’s supernatural elements, this change of locale doesn’t truly affect any narrative bits; perhaps it even embellishes them.
As Poirot is lured out of his self-imposed exile/retirement in post-WWII Italy by “friend” (more on that in a moment) and author Ariadne Oliver, herself made famous by fictionalizing his cases, he begins to experience things the “little grey cells” cannot seem to logically slot into position, resulting in an unsure and unsteady Poirot from those early films.
Here, he is a man simultaneously convinced of his own greatness while his experiences — along with the ego-crushing commentary of Ariadne about his over-inflated sense of self-importance, burnished by her own recounting of his greatness.
In a final blow to his ego, she claims to have “made” him through her books, when in fact the opposite is true; she needs him to be “Poirot” so she can continue to be Ariadne Oliver, best-selling author.
But Poirot, tired (physically and psychically) and rusty, soon shakes off all that is not real or important and inevitably reaches the heart of the case, solving it by the end of the film’s rather sedate 103 minute run-time.
As for the idea of Ariadne being Poirot’s “friend?” In one of the most heartbreaking scenes of the film, when accused of having no friends, Poirot replies that he had friends, a clear nod to the one, true friend we’ve seen him have and who he lost: Bouc.
Great stuff to see that humanity show through, illustrating Poirot’s greatness as a man and not simply a mystery solving machine.
The performances here are all good, save Tina Fey, who I found grating throughout, though I can’t decide if that was intentional or not, as I generally like Tina Fey…
Jamie Dornan, on the other hand, virtually disappears into his role in a spectacular fashion. I didn’t realize it was him for some time, then promptly forgot because it didn’t matter.
Michelle Yeoh is equally as effective as Mrs. Reynolds, the Medium whose abilities set off the night’s events.
Jude Hill plays an absolutely creepy young man. Creepy, but one who wouldn’t be out of place being introduced as Poirot’s nephew, lol.
The score is perfect as we roll through the film, generating tension and tone in all the right places. It never overwhelms, but supports what is happening on-screen, and sometimes inside our characters’ heads.
A Haunting in Venice also displays some interesting cinematography, worthy of discussion at the end of the year, but which, owing to the genre (Thriller/Horror), may be overlooked… but don’t sleep on it.
Vertiginous camera moves pair with subtle shifts to create a visual tension, keeping the audience on edge and illustrating the uncertainty Poirot is feeling both professionally and personally throughout. The camera is still only when Poirot is, and it’s beautifully done.
Trust me; if you enjyoed the first two films, you’ll enjoy this one. Definitely see it on the big screen for the visual appeal.
A Haunting in Venice investigates theaters starting Sep[tember 15 and stars Kenneth Branagh, Michelle Yeoh, Tina Fey, Jamie Dornan, Jude Hill, and Kelly Reilly.
And remember, if the BEST thing you can say about a movie is that it’s “visually stunning,” then they’ve done something wrong.
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