You can never go wrong with a good mystery. The idea of solving crimes has been the backbone for many stories, and the concept of sleuths taking up bizarre cases has engaged audiences for years. One such sleuth is none other than the illustrious and iconic detective Hercule Poirot. The character created by famed novelist Agatha Christie has been solving crimes on not just the pages of books, but in the realm of celluloid as the character has played a pivotal role on both television and film. In the case of cinema, Poirot has been adapted for the big screen on several occasions with the most recent being handled by none other than Kenneth Branagh. It began in 2017 with Murder on the Orient Express which was an astonishing adaptation to the classic novel. Then Poirot would return in 2022 in Death on the Nile which, while not as impressive as its predecessor, lived to the style behind these new adaptations. Now the famed detective returns in a bizarre case, once again directed and starring Kenneth Branagh, known as A Haunting in Venice.

Based on the novel Halloween Party, A Haunting in Venice tells the story of Poirot who, after retiring from solving cases, is invited to a party by old friend Adriane Oliver (Tina Fey) to solve the mystery behind the medium Joyce Reynolds (Michelle Yeoh). Unfortunately, this simple case becomes a complicated matter after Reynolds is found dead and Poirot must discover the mystery surrounding the murder and the history behind the Drake family. Rather than adapting one of Poirot’s famous cases, Branagh decided to focus on a lesser-known story and give it new life by creating a thriller with a horrific tone (at least that was the vibe I got from the trailers). The new Poirot films have been a delight to see and I was curious to see what A Haunting in Venice would bring to this new film series; especially with the film having a different tone from its predecessors. So, embarking to the theater, I journeyed to see this case unfold and while it may not have had the gravitas of the past installments, A Haunting in Venice was still a thrilling time.

When it comes to these new Poirot films, I think there have been many things that have worked in their favor. Among the impressive factors are the stories and their execution. In the case of A Haunting in Venice, the film’s storytelling lived to the standards that began in Murder on the Orient Express; though perhaps not as effective as its predecessor. Unlike the previous films, this plot’s setup was rather quick (albeit not rushed) as it did not take long to get into the case. As mysteries go, the one surrounding this plot was engaging but simplistic in nature. The details of the case were interesting, but there was nothing too shocking about the results. Perhaps the most enigmatic aspect of the story was the “supernatural” element as it does take place in a haunted house. While the use of this aspect was understandably tame, the concept of ghosts allowed the plot to have a psychological element; and this gave the story a unique element to set it apart from the previous Poirot cases.

Another impressive attribute for these mystery films have been the cast. Both Murder on the Orient Express and Death on the Nile featured noteworthy ensembles filled with characters, and A Haunting in Venice was no different. Kenneth Branagh continues to be fantastic as Poirot as his charisma and delivery continues to make his take one of the best interpretations of the famed detective. Along with Branagh was an array of fashionable characters including Tina Fey as Adriane Oliver. Fey was enjoyable as the author, and her chemistry with Branagh was surprisingly dynamic and engaging. Other impressive performances came from Kelly Reilly as Rowena Drake and Jamie Dornan as Dr. Leslie Ferrier, and that says nothing about the rest of the cast as everyone was solid in their roles. Last and certainly not least was Michelle Yeoh as Joyce Reynolds. Though her role as the medium was short, Yeoh still gave it her all as she was able to bring her usual presence to the role and round out this simplistic but formidable ensemble.

Cementing this adaptation was of course its sense of style. Branagh’s Poirot films have had a intricate presentation that have enhanced the tone to the mystery films; and it was good to A Haunting in Venice follow suit in this area. Something that stood out in this film’s presentation was its tense tone and keen cinematography. The camera work was particularly impressive as its use of close ups helped capture the intensity to both the film’s setting and horror style. When it came to horror, the film did its best to capture the atmosphere of the genre though it could be off-putting in areas (granted the film did have some impressive jump scares). Also helping the tone was the music by Hildur Guonadottir. While the music may not left the greatest of impressions, it still did its job by enhancing the intensity behind this thriller.

A Haunting in Venice is another solid entry in Branagh’s Poirot films. While it may not have had the grandiose presentation of its predecessors, the movie was still captivating thanks to its ensemble and engaging atmosphere. I think Branagh set out to try something different for not just the series but his filmography as well; and while this gamble was not perfect it was still a commendable move from the accomplished thespian. Regardless, A Haunting in Venice was a fitting film for the fall season and a different kind of film to add to this series of adaptation.