Review: A Haunting in Venice (2023)

In 2017, Kenneth Branagh directed and starred in the murder-mystery movie, Murder on the Orient Express. The film was based on the Agatha Christie book of the same name, and was an all-star affair with Branagh taking on the role of Belgian detective, Hercule Poirot.

Fast-forward five years and Branagh pulled double duties a second time, to direct and star in 2022’s Death on the Nile. Once again, the film was based on the Agatha Christie book of the same name, and once again it was an all-star adaptation.

Due to the popularity and success of these two movies, a third entry is now playing in UK and US cinemas. The film is called A Haunting in Venice, it’s directed by Kenneth Branagh, and it is a supernatural-themed murder-mystery, perfectly timed for the spooky season.

Based on Christie’s novel, Hallowe’en Party, A Haunting in Venice stars Branagh alongside a cast which includes Jamie Dornan, Michelle Yeoh, Kyle Allen, Tina Fey, and Jude Hill. The movie sees Poirot brought out of retirement to investigate a murder at a séance.

In the movie, the year is 1947 and having retired from detective work Poirot is living in Venice. Here he keeps himself-to-himself, and with the aid of a bodyguard he is able to ignore the many requests for his skills, and avoid all unwanted visitors.

But on the morning of October 31st, Poirot is visited by an old writer friend who offers a proposition. She wants Poirot to accompany her to séance, to help her unmask a medium who she believes is a fraud.

Intrigued by the invitation, Poirot agrees to join his friend for an evening of Halloween shenanigans. However, a short while into the night a murder takes place, causing Poirot to become involved with the case.

Less lavish than its predecessors, but perhaps more stylised and certainly more intimate, A Haunting in Venice is a devilish little Poirot offering which never fails to delight. The movie serves up a puzzling mystery, it is deliciously macabre, and thanks to some neat camera work, effective lighting, and well-placed set pieces, it is suitably atmospheric.

If you enjoy the Branagh Poirot films, and you’re after something to get you in the mood for Halloween, then A Haunting in Venice will definitely see you right. The movie contains enough twists and turns to keep the little grey cells fired up, while the supernatural theme and spooky setting should work its magic at this time of year.

OK, so it’s not quite as grand as what has come before, and it’s clear there has been a budget cut from last year’s Death on the Nile, but what A Haunting in Venice lacks in swollen star power, it makes up for in suspense. The film also doesn’t fall victim to bad CGI like Nile did, so this is a win. 

What you get with A Haunting in Venice is a good ol’ fashioned murder mystery, by way of a haunted house picture. It takes inspiration from both sub-genres, splices them together and delivers something which is fairly solid.

Could it be classed as amazing? No. But thoroughly enjoyable nonetheless, especially thanks to the darker tone and creepy nature of the story.

Branagh is once again excellent as Poirot, bringing his usual eccentricities to the forefront of the screen. For reasons related to the plot, this time around Poirot’s a little off his game, and Branagh plays with this little weakness marvellously, which helps to further develop his character.

In the previous film, to further his character, audiences had to put up with some backstory guff about the origin of Poirot’s moustache. In this instalment, the character development is more subtle and is better for it.

The film also benefits from some terrific performances from Tina Fey and Jude Hill. The former is marvellous as Poirot’s old friend, while the latter acts everyone off the screen as the son of a doctor.

Eagle-eyed audiences will recognise Hill from 2021’s Belfast, which was written and directed by Kenneth Branagh. If you’ve seen that movie, you’ll know what a wonderful actor Hill is, and he continues to delight here.

Outside of the cast, A Haunting in Venice benefits from its Gothic setting, including some beautiful shots of the Italian city. The movie was filmed at Pinewood Studios in the UK, as well as on location in Venice, and the combination of the two marry up rather well.

It’s not too difficult to work out what was filmed in a studio, and what wasn’t, but the joins are seamless. Horror fans will also notice a couple of nods to classic supernatural film, Don’t Look Now, which is certainly welcome.

In fact, if you’re a fan of that film then you will most likely get a similar vibe while watching A Haunting in Venice. Both pictures have an uneasy quality to them, which feels embedded into the fabric of the film.

While not quite as strong as Murder on the Orient Express, A Haunting in Venice is an improvement on Death on the Nile. It understands that sometimes less is more, and delivers plenty of mystery and lots of consistency.

A Haunting in Venice is the sort of film that audiences can easily get lost in for a couple of hours, and with the weather now on the turn, and the nights starting to draw in, it provides the perfect excuse for some cinematic escapism. If you have murder in mind (of the fictional variety), then indulge and enjoy.

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