Kenneth Branagh indulges in the kind of macabre theatricality that only a crumbling Venetian palazzo on a stormy Halloween night can provide in BԪַ BԪַ
Moviegoers probably long ago made up their mind one way or another about BranaghBԪַs stately and flawed Hercule Poirot franchise, but should there be any curiosity left for this third installment is worth it. It is spooky, fun and features Tina Fey, looking smart and sleek in post-war suits as the fast-talking author of wildly successful whodunnits who says things like BԪַIBԪַm the smartest person I knowBԪַ in a mid-Atlantic accent.
Set in 1947 on a particularly foggy night in the city of canals, BԪַA Haunting in VeniceBԪַ is beautiful to look at, with costumes by Sammy Sheldon, production design by John Paul Kelly and cinematography by Haris Zambarloukos. And itBԪַs embellished with moody but palatable scares that feel reminiscent of classics like BԪַThe InnocentsBԪַ and BԪַThe Others,BԪַ that are enhanced by Hildur GuðnadóttirBԪַs score. In other words, this might not excite a BԪַSawBԪַ enthusiast, but for the more easily scared and skittish it hits just the right notes.
Agatha Christie takes a bit of a backseat here, as Branagh and screenwriter Michael Green take only the loosest inspiration from her 1969 book BԪַThe HalloweBԪַen PartyBԪַ for their haunting, firstly by moving it to Venice. ItBԪַs where Poirot has chosen to live out his self-imposed retirement (an enviable exile if there ever was one).
His whereabouts are hardly a secret though BԪַ desperate folks line up outside of his picturesque apartment hoping heBԪַll take a stab at their cases. But for now, a handsome Italian bodyguard (Riccardo Scamarcio) is there to make sure they donBԪַt get close enough to ask.
FeyBԪַs Ariadne Oliver gets through the gates, though, with a different kind of offer: She wants Poirot to accompany her to a séance. This medium, she says, appears to be the real deal and only heBԪַll be able to figure out if itBԪַs all a trick. Soon he, reluctantly, finds himself at a Halloween party for the cityBԪַs orphans, held by a famous opera singer, Rowena, (Kelly Reilly) with a famously dead daughter whom they hope to contact later that evening when the children depart.
Branagh recruited a few of his BԪַBelfastBԪַ stars into this ensemble, including Jamie Dornan as doctor still haunted by the war and Jude Hill as his precocious son Leopold. Camille Cottin is a housekeeper, Kyle Allen is the dead girlBԪַs ex-fiancé, and Michelle Yeoh is the theatrical medium Mrs. Reynolds, who seems to be having a grand time chewing the scenery as a possible femme fatale.
It is a distinct shift in tone from the previous films BԪַ sadder and more serious, with grief and death everywhere. Even before AliciaBԪַs mysterious death (off a balcony, into the canal with a horrific scrape on her back) the grand palazzo had a body count: ItBԪַs where doctors are said to have locked up children to die during the plague.
And this crew is in for a long, stormy, claustrophobic night with finger pointing, more deaths and some inexplicable phenomena at play. PoirotBԪַs existential crisis is probably the least interesting aspect of the whole thing, despite its centrality to the plot, but Branagh doesnBԪַt waste too much of his time diving into those self-indulgent waters.
Maybe Branagh should have been leaning more into horror this whole time with this franchise. Or maybe itBԪַs a case of underestimating a director whose work is prolific and not always personal. It can be hard to take stock of a filmmakerBԪַs career when theyBԪַve made great Shakespeare and Cinderella adaptations as well as BԪַThorBԪַ and BԪַArtemis Fowl.BԪַ
But itBԪַs always a pleasant surprise when it works as BԪַA Haunting in VeniceBԪַ very much does.
BԪַA Haunting in Venice,BԪַ a 20th Century Studios release in theaters Friday, is rated PG-13 by the Motion Picture Association for BԪַsome strong violence, disturbing images and thematic elements.BԪַ Running time: 107 minutes. Three stars out of four.
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