Kenneth Branagh returns as Hercule Poirot, with Tina Fey and Michelle Yeoh in tow, for a spookily atmospheric reimagining of Agatha Christie's 'Hallowe'en Party.'
With the release of ‘A Haunting in Venice,’ two Christie obsessives weigh in on the enduring appeal of an author who’s been outsold only by the Bible and Shakespeare.The victims, suspects, motives and complications pile up swiftly but lucidly. Rowena’s guests, not all of whom were invited, include an angry chef , a watchful bodyguard , two shifty Hungarian travelers , a troubled doctor and his precocious son .
Poirot reacts to all this legerdemain with a disbelieving scowl, even when he can’t fully explain the hair-raising tricks his eyes and ears are playing on him. He is joined in his skepticism, up to a point, by his longtime friend Ariadne Oliver , a successful mystery novelist who functioned in the books as a self-parodying avatar for Christie herself. That dynamic plays out differently here, partly because the character has been recast as an American.
Branagh certainly succeeds in finding his, as do his gifted collaborators . Filming on location in Venice, of course, has long been a reliable source of cinematic ensorcellment; if it is possible to shoot an unattractive or unevocative frame of this city, Zambarloukos hasn’t managed it.
With its paranormal activity and seemingly impossible crimes , “A Haunting in Venice” sometimes feels closer to the work of the great John Dickson Carr than Christie, even if the solution to the mystery, though clever and convincing, falls short of those authors’ signature ingenuity.
Branagh’s Poirot, himself a World War I veteran, has bared his own physical and psychological scars in this series before. For the first time, though, his backstory doesn’t feel concocted for effect. Instead, it subtly resonates with a case whose rich human dimensions — deferred dreams, unshakable traumas, grieving parents and children — sound a grim echo of the world beyond the whodunit.
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