Weekend Watch - A Haunting in Venice
A Haunting in Venice improves upon Kenneth Branagh’s Poirot formula in almost every facet with well-cast characters, more believable visuals, and elements of horror that make the film more interesting, but at the end of the day, the predictable mystery, lack of character development, and familiar tropes leave it as a basic mystery.
Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating and review. This week’s topic, as voted by the blog’s Instagram followers, is Kenneth Branagh’s latest Hercule Poirot film – A Haunting in Venice. This one finds Branagh again in the role of the Belgian sleuth, joined again by a star-studded cast of victims and suspects, including Michelle Yeoh, Jamie Dornan, Tina Fey, Riccardo Scamarcio, and Kelly Reilly. The film takes on a slightly different tone than Branagh’s other two Poirot films, leaning harder into the horror elements of its subject matter, loosely adapting Agatha Christie’s Hallowe’en Party. It opened this weekend in theaters. Let’s get into it.
Letter Grade: C+, the horror elements are a welcome addition to Branagh’s fairly nondescript detective film series, but minimal character development and a fairly predictable mystery keep the film in a middling tier of films.
Review:
A Haunting in Venice improves upon the Poirot formula with some new elements of supernatural horror and the use of far less CGI in its cinematography and set design to give us a decently passable entry in the canon of mystery films – superior in almost every way to its predecessor Death on the Nile and arguably better than Branagh’s Murder on the Orient Express as well. The new ensemble of characters, while not overly fleshed out or dynamic, provide some solid performances with more to do than the cast of Branagh’s previous two entries in this current Poirot series, which then (surprisingly) gives Branagh less to do, again improving upon the flaws of the first two films, saving us from an excess of Branagh’s wild attempt at a Belgian accent. The story and mystery are still fairly simple and easy to follow and unravel, leaving this film stranded somewhere in the middle in terms of its watchability.
Venice finds our detective living in retirement in the titular city, enjoying the sights and eating pastries on his balcony while a bodyguard – Riccardo Scamarcio’s Vitale Portfoglio – keeps supplicants at bay. It is only the arrival of his friend, mystery author Ariadne Oliver (Tina Fey), with an offer of debunking a medium at a séance followed by a murder at said séance that can bring Poirot back into the game. The mystery unfolds as the other Poirot films have, with a group of mostly familiar celebrity faces trapped in a single location while the detective endeavors to discover which of them committed the crime. The actual mystery is two-pronged, with the purported murderer most likely also responsible for a past murder in the same location, but it’s not the mystery that holds the audience’s attention for the majority of the film, as the perpetrator(s) quickly become apparent to most viewers. The true hook for the story (and the film) comes in the form of the supernatural elements in the second act. While the séance is quickly debunked, other seemingly supernatural occurrences continue throughout the film’s run, plaguing Poirot specifically with haunting children’s songs, phantom appearances in mirrors, and frightening images abounding in the film’s second forty minutes or so. While it’s not on the level of a James Wan film, for a PG-13 mystery horror, the suspense, atmosphere, and jump scares do a solid job of achieving that element of horror lite needed to season the mystery well.
One thing that Branagh has done well with his Poirot films is casting his ensembles of characters, and Venice continues in that tradition. While the characters are little more than archetypes, each of the actors portrays their archetype well. Branagh’s Poirot himself has arguably less to do in this film than in either of the other two entries, and that allows the actor to lean into the more endearing parts of the character without coming across as overtly self-serving, as he has in the past. Fey brings some levity and intensity to her role as the washed-up mystery novelist looking to revitalize her career with a new Poirot-inspired story. Yeoh seems like she gets to have the most fun as the nebulous medium Mrs. Reynolds, playing the woman with a connection to the other side with just the right blend of airiness and insanity. Dornan’s veteran physician suffering from PTSD offers a reminder of the actor’s versatility and ability to exhibit some level of depth and emotionality when given the opportunity. Finally, Kelly Reilly brings her A-game to the eternally mournful, not fully adjusted diva and host Rowena Drake, playing tragically bereaved mother and potential femme fatale with aplomb, rounding out the leading cast in satisfactory fashion.
A Haunting in Venice improves upon Kenneth Branagh’s Poirot formula in almost every facet with well-cast characters, more believable visuals, and elements of horror that make the film more interesting, but at the end of the day, the predictable mystery, lack of character development, and familiar tropes leave it as a basic mystery, just fine, but not groundbreaking. It’s fun to see Branagh getting better at making his Poirot mysteries, so if he does adapt another, maybe it’ll be the one that finally hits the nail right on the head.