Agatha Christie’s famed Belgian detective Hercule Poirot investigates a murder in director Kenneth Branagh’s gloomy whodunit with a vivid supporting cast.
“A Haunting in Venice” opens to moody shots of St. Mark’s Square in the titular city, set to strains of Hildur Gudnadottir’s elegiac score; set in 1947, and moved to Italy from the English setting of Christie’s novel “Hallowe’en Party,” from which this film is adapted, “A Haunting in Venice” is, true to its title, awash in rue and regret, from the lingering traumas of World War II to Poirot’s loss of his beloved Katherine, who lost her life in World War I.
With her delivery reminiscent of 1940s screwball comedies and an ever-present skeptical twinkle in her eye, Fey provides welcome levity in an otherwise pretty gloomy undertaking: When Ariadne invites Poirot to a séance at a supposedly cursed palazzo on All Hallows’ Eve, “A Haunting in Venice” becomes a classic locked-room mystery, in this case featuring a spooky house; a couple of murders; and lots of bangs, clangs and jump scares, which Branagh heightens through weirdly canted camera...
Working from a script by Michael Green, Branagh gives “A Haunting in Venice” a melancholy and often genuinely scary sense of doom, filming in sepulchral tones and keeping the audience disoriented by way of visual non sequiturs and murky, dreamlike sequences.
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