Kenneth Branagh didn’t give us much time to miss Hercule Poirot. Early 2022 brought the release of “Death on the Nile,” an adaptation of an Agatha Christie mystery novel and the follow-up to actor-director Branagh’s “Murder on the Orient Express” from 2017. Now, about a year and a half later, Branagh is back in theaters as mustachioed Belgian detective Poirot with “A Haunting in Venice.” (In fairness to Branagh, the release of “Death” was delayed more than once due to the pandemic, so, in a way, Branagh had more time to miss embodying the character than it may at first seem.) Thankfully, the consistently engaging “Haunting” feels fresh in a way the nonetheless enjoyable “Death” didn’t thanks to the addition of a spooky vibe to the series, stemming from the constant fear that a supernatural presence may be responsible for this round of killings. A loose adaptation of Christie’s 1969 novel, “Hallowe’en Party,” by “Murder” and “Death” writer Michael Green, “Haunting” is set in 1947 — a decade after the events of the previous film — in, of course, Venice. Poirot, drained from a life that has seen war, followed by constant criminal investigations, has retired in the Italian city, going so far as to hire a bodyguard — retired police officer Vitale Portfoglio (Richard Scamarcio, “John Wick: Chapter 2”) — to keep those seeking his help away from him.
Comment on ‘A Haunting in Venice’ review: Spooky-fun seance soiree with Hercule Poirot
Mark Meszoros, Denver Post: Books
Thu, 09/14/2023 - 9:37am
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