A Haunting in Venice (Film Review)

This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labour of the writers and actors currently on strike, the movie being covered here wouldn't exist.

Murder mysteries will never die. There will always be another gruesome death, a new case, a new set of suspects, and of course a detective to solve the crime. Although A Haunting in Venice is very, very loosely based on Agatha Christie's Hallowe'en Party, basically only using some character names and the extremely bare bones of some of the plot, it makes for an exciting new prospect. With such a loose adaption, you have no idea what to expect, making this a fresh take on Christie's classic.

Its 1947 and Hercule Poirot has retired to Venice but his solitude is interrupted by the arrival of an old friend, crime writer Ariadne Oliver. She persuades him to join her at a séance to help her debunk the medium, Joyce Reynolds. But when it is revealed that someone in the house was previously murdered, followed by another supernaturally charged murder, Poirot is forced to take the case and find out if ghosts really do exist.

Kenneth Branagh, once again at the helm, has made a few wise choices since Death on the Nile. No unnecessary flash backs, no mention of Katherine (save one) and no romance, at least on screen. This time we see a retired Poirot, resigned to live out his days as quietly as possible. Tending to his garden in the only way Poirot does and ignoring any new cases. Poirot is also far more reserved and more reflective. No less arrogant but instead of the overzealous and pompous Poirot of the previous films, we have the quick witted and haunted Poirot which is far better to digest on screen.

Branagh's Poirot is not alone this time, aided by his old friend, Ariadne Oliver. She is the first character, other than Poirot, to appear in the films from the books. A very welcome addition as she not only drives the plot, but has some of the best lines in the film, as well as having perfect chemistry with Poirot. This dynamic was also something that was missing from the previous films. Tina Fey as Oliver is fantastic, she is by far one of the best characters, fitting so well into the world that Branagh has created.

Although an exciting new location, with a new set of characters to delve into, as well as an excellent turn from Michelle Yeoh, the film is not without its disappointments. There is plenty of clunky dialogue and one too many dud characters whose only purpose is tell their story and then never talk again. But it is the paper-thin motive for some deaths that is really quite frustrating especially as the entire set up is truly chilling and atmospheric. Without delving too far into spoiler territory, suspend your disbelief when it comes to the climax. The journey of the film is far better than the payoff.

The mistakes Branagh made with Death on the Nile had been noted. With A Haunting in Venice, we are given the traditional murder mystery with supernatural horror genre elements. These additions and a shift in mood from the main character make all the difference. This was the change the Branagh/Poirot films needed. A change in scenery, vision, and attitude. There is hope that if there is another Poirot film to come, it will follow in the same vein as this one.

A Haunting in Venice will be released in cinemas on 15th September