When the occasion comes for Kenneth Branagh to put on that famous mustache to solve another mystery, it will give fans of murder mysteries a good time. A Haunting in Venice is the director’s third film centered on one of Agatha Christie’s novels and the loose adaptation of her 1969 novel “Hallowe’en Party,” the first to be told on the silver screen. But the previous two films Branagh did, Murder on the Orient Express (2017) and Death on the Nile (2022), did little for me, as the intrigue in both felt lost in the shuffle with no lasting impression. Both were underwhelming despite usually getting something out of murder mysteries occasionally. I wasn’t expecting much from a story I knew nothing about prior, though the trailers showed something more mysterious than what we’ve seen. In that, A Haunting in Venice won’t stand out as a game-changer for the subgenre, but it’s a surprise to consider this installment far more enjoyable out of the three.

What’s the Story: Ten years have passed since world-renowned detective Hercule Poirot (Branagh) solved the mystery on the Egyptian Nile. Since then, he has taken it upon himself to settle on a quiet retirement in Venice, Italy, refusing to take on new cases at his door. However, a visit from an old friend, Ariadne Oliver (Tina Fey), a mystery novelist attempting to get a new book off the ground, convinces Hercule to attend a séance after a Halloween party performed by medium Mrs. Reynolds (Michelle Yeoh) in the home of grieving former opera singer Rowena Drake (Kelly Reilly) in hopes to connect with her dead daughter who committed suicide. The palazzo itself is said to be haunted by the abandoned children after a plague outbreak. But when someone is murdered, Hercule is lured back to find out which of the guest is the suspect and the secrets they might hold — including ex-police offer Vitale Portfoglio (Riccardo Scamarcio), Maxime Gerard (Kyle Allen), housemaid Olga Seminoff (Camille Cottin), Dr. Leslie Ferrier (Jamie Dornan) and his precocious son Leopold (Jude Hill), and siblings Nicholas and Desdemona Holland (Ali Khan and Emma Laird, respectively).

What makes A Haunting in Venice vastly different from the previous outings is Branagh’s approach in its changing tone in one of Christie’s lesser works of fiction. It was a shock to learn this would lean into a supernatural thriller with that classic murder mystery angle from Christie’s world. Throughout this unexpected Halloween night, it’s able to create this tension brimming from the creepy and nearly claustrophobic atmosphere when Poirot and the rest of the guests must stay put inside this Palazzo, which a majority of the film takes place in and makes this setting more investing than a train or a boat combined thanks to his directing this time. The vibe fits more into the early ’70s movie since this thankfully doesn’t have any distracting CGI backgrounds to create this dreadful mood I found to appreciate since it looked like they actually shot this on location. However, this will draw anyone into the plot points that send our detective in a new, unanticipated direction. For those who found the Dutch angles in the first Thor to be intrusive, Haris Zambarloukos’s cinematography makes greater use of them now to demonstrate how unsettled the characters are in this situation.

You would think seeing Branagh again is tiring playing Hercule Poirot, but it’s not true at all. He continues to be outstanding after three movies deep in what could be his best performance as this character. Not only do we want to see him use his skills to prove why he’s the greatest sleuth alive, but this charismatic touch he always isn’t forgotten, especially when he’s in a position where he questions his beliefs after this séance and can’t be himself. This is because Poirot thinks Mr. Reynolds is a fraud at first, but as the night goes on, he doesn’t know if what he’s seeing is accurate. Is it ghosts? Is it something else?

We might not remember this sequel for the character development of the ensemble he is currently directing, but they appeared to enjoy providing the tension of a whodunit. It must have helped keep its footing for the focus to be dialed back on the major A-listers. Tina Fey takes some used to early in a rare non-comedic turn from her, but she leveled herself out when this case turns serious, creating a likable dynamic with Branagh as his sidekick. As someone who loved the director’s underrated Oscar-winning Belfast, it’s nice to see Jamie Dornan and Jude Hill play on-screen father and son again, even in a completely different movie. Michelle Yeoh has limited screen time, but she makes her time worth it with Mrs. Reynolds, especially during the terrifying séance.

The weakest aspect might have to be when it touches on the horror element because it doesn’t be something out of the Conjuring universe or whatnot, which can be chalked up to Michael Green’s script. Nothing is scary except for the few jump scares that’ll get a few, yet it’s enough to make it possible for what a few described as the director’s better attempt at the horror genre. And when being not well known with the Christie story, the lead-up to the investigation doesn’t leave on a predictable note as I thought, still keeping me guessing that we all know it was going to go into the Poirot explaining everything in the climax. Yet, you have to be the most susceptible person actually to be shocked; ask the older couple who sat behind me and reacted more than twice. If you saw the first two and thought they were fine, this will be more beneficial for those hoping for an early eerie time. I wouldn’t have realized it was an adaption if I hadn’t been told, which makes me want to see what Branagh does next with this character.

Overall, A Haunting in Venice doesn’t rely on itself being too scary, but the third installment gets points for being the most watchable in the Branagh/Christie trilogy. Is it one I’m going to watch again? Maybe not, since these are on a different wavelength from what someone like Rian Johnson has been doing. But this improvement allows it to be presented in a dark, almost effective way that doesn’t overstay its welcome.

Grade: B-

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Release Date: September 15, 2023

Runtime: 103 Minutes

Rated PG-13 for some strong violence, disturbing images and thematic elements

Distributions: 20th Century Studios