A Haunting in Venice is the newest movie in Kenneth Branagh’s Agatha Christie series, in which the prolific filmmaker directs and stars as famous detective Hercule Poirot. After positive box office returns for 2017’s Murder on the Orient Express and a more tepid response for last year’s COVID-delayed Death on the Nile, 20th Century Studios put this out during a massive Hollywood strike where its stars could not promote the picture — perhaps in hopes that the critical goodwill from the previous two films would get audiences to the theatre. Regardless of whether an audience shows up, they should — Branagh has delivered another thrilling mystery that is the perfect way to kick off Spooky Season.
A Haunting in Venice is based on Hallowe’en Party, but readers don’t need to be acquainted with Christie’s original to enjoy the film. The movie takes place in postwar Italy among the rubble and poverty that followed World War II. Poirot is retired from sleuthing, but a rival American writer Ariadne Oliver (played by Tina Fey and inspired by Christie herself) arrives at his Venician apartment with a dare: come with her to a seance on Halloween night. Neither she nor Poirot believe in the supernatural, and Oliver explains that she is trying to debunk a mystic named Joyce Reynolds (Michelle Yeoh). Since Oliver cannot figure out the logical explanation behind Reynold’s tricks, she challenges Poirot to expose the fraudulent psychic. Poirot agrees, but when a storm traps him and the seance party in an allegedly haunted manor, matters turn from theoretical spirits to a very real murder.
The story of A Haunting in Venice feels like an old scary story told late at night. Story-wise, there are a lot of twists that are telegraphed at the start but still feel surprising. The gothic atmosphere of the movie is improved by the muted colors in the film: during the day, there are very bright colors to represent the joy of the city, but at night, the shadows enhance the tragedy.
While this film doesn’t have as many stars as Murder on the Orient Express or Death on the Nile, the actors make every character interesting to watch — all of them feel realistic because they are such flawed characters with complex backstories. Hercule Poirot even has an arc, starting the film not wanting to do any detective work and then embracing it when faced with a dead body.
The cinematography by Harris Zambarloukos is amazing. His movement and framing resemble old-time films. He also has an eye for creating horror: there are several scenes in the mansion bathroom (the only spot Poirot can escape the others) and each scene is filmed in a way that makes the room feel more claustrophobic each time. Conversely, several wide-open shots illustrate the emptiness of the mansion and how alone the characters are.
While A Haunting in Venice is technically not a horror movie, it is certainly a great movie to watch during the month of October. Anyone who wants chases and jump scares will be disappointed, as the story slowly builds with each clue Poirot discovers. Its interesting aesthetic and great camerawork elevate it above recent mysteries like Glass Onion. A Haunting in Venice is a good time for not only diehard mystery fans but also people who are just looking for something entertaining with just a hint of terror.
