Review: A Haunting in Venice
Kenneth Branagh has officially redeemed himself from the questionable movie adaptation of Agatha Christie’s “Death on the Nile.” As a director and star, Branagh allows “A Haunting in Venice,” based on Christie’s 1969 “Hallowe’en Party,” to find its place as a respectable murder mystery. The big-screen movie was released on Sept. 15, just in time for the autumn atmosphere to accompany its spooky mood.
The cinematography immediately seizes the audience, forcing them to observe the story from within Italy. Branagh incorporates the calm noise of the shimmering water across the Grand Canal and the occasional seagull to ensure the viewers are fully transported. The intimate frame of Detective Hercule Poirot’s (Branagh) striking blue eyes begins the close angle trend the director utilizes. Almost as if observing each character under a magnifying glass, the audience captures each emotion that crosses an actor’s face.
Branagh mostly wields an impressive cast, all capable of contributing to the creepy aura of the movie. Michelle Yeoh, the clairvoyant Mrs. Reynolds, executes her part with unsettling vigor. Her disturbing portrayal of ghostly possession remains a highlight of the film. Kelly Riley steals the show, convincing viewers of her broken and grieving mind. The only one who doesn’t seem to fit is Tina Fey. As Poirot’s spunky friend, Ariadne Oliver seems to be a poor attempt at comedic relief, which is ultimately not necessary for the movie.
For seasoned murder mystery lovers, the plot twist of the film is entirely obvious, but one can still enjoy the shock of the reveal. The movie tends to mimic Rian Johnson’s “Knives Out,” giving the lead detective a chance to interview each suspect individually. The characters’ personalities are fleshed out just enough to deliver a dynamic group, but not so much that it takes away from the secrecy of the individual. Branagh’s original take on jumpscares is constantly lurking and leaves no moment of rest.
While following previous Poirot mysteries such as “Death on the Nile” or “Murder on the Orient Express” may be helpful to appreciate the lead detective’s history, they are certainly not necessary to understand the plot of “A Haunting in Venice.” Branagh’s mustache continues to impress throughout the murder series, which may be all the background one needs.
