Review: Kenneth Branagh’s ‘A Haunting in Venice’ is Quite the Horror Mystery
by Manuel São Bento
September 18, 2023
Branagh’s Murder on the Orient Express (2017) could have been much better, and Death on the Nile (2022) was a tremendous disappointment, but still, the Hercule Poirot stories by Agatha Christie always tend to capture my total interest. These cinematic adaptations have been in the hands of actor-director Kenneth Branagh and screenwriter Michael Green, who once again collaborate on A Haunting in Venice. This now completes their trilogy of murder mystery whodunnits, with this latest installment dipping its toes into the horror genre. Considering the general opinion on the first two movies, stating that A Haunting in Venice is the best adaptation to date doesn’t mean much, but the truth is that Branagh and Green are able to, in fact, avoid some of the previous mistakes and take advantage of the eerie, somber atmosphere to add an extra layer of suspense, fascination, and intrigue to the plot. It features the least star-studded cast in the trilogy, but honestly, it actually ends up benefiting the different story threads focused on Poirot’s inevitable investigation and interrogations – sequences that should be driven more by the characters than the actors.
Branagh’s latest A Haunting in Venice forces Hercule Poirot to analyze two distinct, though in some ways, interconnected mysteries. The first comes linked directly to the premise of this type of whodunit story: the typical detective work, finding the culprit of the homicide that often marks the end of the first act. Nothing the famous detective isn’t used to… However, the second mystery is equally or more captivating due to its inherently personal layer: the presence and impact of supernatural entities. Watching Poirot trying to find answers to the paranormal when he’s someone who is essentially always guided by logic, common sense, and science becomes the movie’s most compelling storyline, in addition to the added thematic weight.
Both mysteries in A Haunting in Venice remain quite alive until the end, a significant improvement over the predecessors. I’ve said this before: a “whodunnit” mystery is worth more than merely finding or guessing who the murderer is, but this is the first film of Branagh’s Poirot saga that genuinely manages to generate real doubts until Poirot’s final exposition scene. Virtually every character has clear motives, although the interest in each individual interrogation ranges from indifferent to hypnotizing.
Just as not all storylines grab viewers, not all questions are answered. On one hand, the dive into the horror genre offers a unique atmosphere to explore within these Poirot mystery flicks, with Branagh’s direction being nothing short of brilliant when it comes to constructing suspenseful moments. The jumpscares are efficient, but it’s the numerous build-ups that completely transform countless scenes throughout the film. On the other hand, ambiguity doesn’t really fit this world of extreme logic, so the addition of supernatural components that end without explanation – or with “lame justifications” such as the use of hallucinogens – leaves a bitter taste as the movie comes to an end.
Branagh also demonstrates remarkable aptitude as a filmmaker when it comes to creating a truly immersive cinematic environment. From glamorous shots of Venice, to the use of shadows and natural darkness in many scenes, A Haunting in Venice is, without a doubt, the film in the trilogy that benefits the most from its technical attributes. It slightly overuses the crooked angles from top to bottom and some “action” moments are too agitated and shaky, but overall, it’s impossible to deny the director’s distinguishable style this time, who also entertains the audience with his already iconic interpretation of the protagonist.
As already mentioned above, the cast may not be the most “stellar” in the saga, but the performances remain fantastic across the board. Branagh employs Poirot’s mustache with the same vivacity and expressions that characterize the detective, always with a special sense of humor that makes every interaction feel unique. Tina Fey (best known from “30 Rock” and Date Night) has already demonstrated her dramatic skills in previous movies, but in A Haunting in Venice, the actress strikes an interesting balance between serious moments and her comedic sensibilities. Michelle Yeoh (Academy Award winner for Everything Everywhere All at Once) expectedly steals the spotlight whenever she’s on screen as well.
Final Thoughts
A Haunting in Venice is, by some margin, the best adaptation of the now trilogy featuring Hercule Poirot, correcting many of the mistakes of the past and utilizing Kenneth Branagh’s innate talent as both filmmaker and actor to stand out as a darker, more atmospheric film this time. Featuring exceptional performances, suspenseful sequences with intense build-ups, and a couple of genuinely intriguing mysteries that last until the very end. Some ambiguity surrounding its supernatural themes feels off in such a logic-driven world, just as not all characters deserve their allocated screen time. If this last installment is used as a solid base for new sequels, the saga has everything in its favor to continue…
Manuel’s Rating: B
Follow Manuel on Twitter – @msbreviews / Or Letterboxd – @msbreviews
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