This review was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the film being covered here wouldn’t exist.

A Haunting in Venice marks the third outing of Hercule Poirot as played and directed by Kenneth Branagh. Now known for glossy, large-scale narratives with ensemble casts, these movies have become the MCU for detective fiction stans and women over 50. And just like the MCU, you’re going to get a variation in quality. 2017’s A Murder on the Orient Express was received pretty well but the same can’t be said for the 2021 follow-up Death on the Nile. It never really stood a chance since it starred an alleged abuser who was making headlines at the time. But the fact that the most memorable part of the film is the cringe-inducing way Gal Gadot delivers one line didn’t help either. Did we really need another Branagh/Poirot picture? It should be noted that, unlike its predecessors, this film does not share the name of the source material, Hallowe’en Party. This is significant because Branagh is bringing Agatha Christie to a dark, new place: the horror genre.

Is ‘A Haunting in Venice’ a Horror Movie?
Image Via 20th Century

Ah yes, that dirty H-word. Is A Haunting in Venice a horror movie? That’s the main question following this film other than “Will we get a back story for Poirot’s haircut this time?” To Branagh, no. He claims it’s a “paranormal thriller” (sure, so is The Conjuring). He also said that “the normal rules don’t apply” and that much is true. A Haunting in Venice’s main downfall is that it has no idea what type of film it is.

There are elements that the marketing campaign honed in on that very much pertain to classic paranormal horror. The pivotal moment of the trailer is Poirot looking up from the sink into a mirror where a ghostly undead woman stands behind him. In the film itself, there are jump scares sprinkled throughout. And when you compare it to the previous Poirot/Branagh installments, this one is very much the outlier. Even the central death scene is much more visceral and explicit than in the prior two films. One might see this film and agree it’s in no way horror because it’s not that scary. But, that’s not the point. The point is that the film changed the title to have “haunting” in it, its first poster was just an image of a skull-mask hybrid, and it undoubtedly strives for a horror atmosphere to elevate the stakes of the central mystery. Market your film as a horror, and prepare to have it critiqued as one.

What Is ‘A Haunting in Venice’ About?
Image via 20th Century Studios

Poirot has been in hiding since The Death on the Nile (must have seen the reviews) in Venice. He spends his days walking around the town, enjoying pastries, and being protected by his bodyguard from normies who are desperate for his advice. He declines everyone’s visits until his old buddy and world-famous mystery writer Ariadne Oliver (Tina Fey) shows up and demands he go with her to a children’s Halloween party followed by a séance. The party is taking place at the palazzo of famous opera singer Rowena Drake (Kelly Reilly) who is still reeling from her daughter Alicia’s tragic death. Rowena has invited the medium Mrs. Reynolds (Michelle Yeoh) to see if she can contact her daughter and shed light on her mysterious death.

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Alicia had been mentally ill for the last few weeks of her life after her fiancé left her for a richer woman. However, the housekeeper who is devoted to the Drake family, Olga (Camille Cottin), insists that Alicia did not kill herself. The seance is rounded out by the PTSD-suffering Dr. Ferrier (Jamie Dornan in his own film), Ferrier’s way too precocious son, Leopold (Belfast’s Jude Hill), Mrs. Reynold’s two assistants, and the fiancé who jilted Alicia. The seance doesn’t go to plan, but that’s the half of it. There has been a merderrrr!! Poirot locks the house down and officially opens a new case. Ya boy is back!

Kenneth Branagh Tries Out New Directing Styles in ‘A Haunting in Venice’
Image Via 20th Century

Branagh is trying on many different hats in terms of his direction. He sometimes opts for a shaky-cam style akin to found footage horror, unsteadily making his way around random objects in a room. And then the characters are suddenly talking to the camera, and we realize that we are the eyes of Poirot. With all the characters giving performances straight from a theater camp, this integrated form of direction feels jarring and out of place. It might be Branagh’s attempt at pulling us into the action but… there’s not a lot of action to be pulled into. Then he decides to zoom in on suspicious characters, before going wide to capture the opulence of the set. It all feels like a mish-mash of techniques that remind the audience that Branagh is out of his comfort zone here.

While there are more than a few immensely talented actors here, none of them are at their best. Tina Fey, one of the funniest and most charming actors working today, is leaning way too into the “Let’s crack this case open, kid” witty, silver-tongued sidekick role. Each line delivery is as unnatural as the next and beside Branagh who feels so comfortable in this role, it feels like they’re in different films. With Fey reaching for the stars, Branagh plays Poirot down which sacrifices the chemistry that should have been there.

I have no words for Dornan, who is playing this role like a David Fincher protagonist on a bad trip. It wouldn’t be so noticeable if it weren’t for Judith Hill playing one of the creepiest kids committed to film without being in any way malicious. There’s a scene when he tries to calm his war-torn dad down and I never thought the term “pick me girl” could be applied to a ten-year-old boy but, here we are. Michelle Yeoh, one of the most beloved actors after an award-season sweep for the history books, isn’t given much to do. However, Camille Cottin gives a melodramatic but committed performance as does Yellowstone’s Kelly Reilly.

‘A Haunting in Venice’ Borrows Horror Tropes But Doesn’t Use Them Well
Iamge Via 20th Century 

Kenneth Branagh, whether he cares to admit it or not, is in some way trying to make a horror film here. There are jump scares, the film revolves around ghosts and hauntings, but it makes no confirmed statement on whether the horror of this film comes from humanity or the paranormal. I think it’s trying to say “It’s a little bit of both” but the film would have been more compelling if it just stuck to one. While there are some fun little nods to German Expressionist horror; use of shadows, dark figures stalking gothic settings, these are all just little asides. Venice fails to get to the root of the horror that pervades this mystery, and a bizarre moment during the climax only adds to the confusion.

In saying all of this, the film is not without its merits. Branagh, whether you adore him or avoid his movies as much as possible, knows how to entertain a crowd. However, what impressed me most about Venice actually has nothing to do with those involved in the production. It all comes back to the queen herself, Agatha Christie. The twist is detailed but not too convoluted, and in my view, it’s not easy to see coming. If anything, A Haunting in Venice is a reminder that even when we are inundated with mystery stories, no one does it like Agatha Christie, and it’s hard to believe that someone ever will again. Go for the Christie plot, stay for the silly fun, and try not to laugh at Jamie Dornan and Judith Hill’s bizarre dynamic. Right, when are getting Poirot’s mustache prequel?

Rating: C+

The Big Picture

A Haunting in Venice is part of a series of detective movies directed by Kenneth Branagh and is marketed as a horror film despite not being particularly scary. The film tries out different directing styles, but the mish-mash of techniques feels jarring and out of place, and the actors are not at their best. While the film borrows horror tropes, it doesn’t effectively use them, and the real merit of the film lies in Agatha Christie’s plot twist.