Mystère à Venise

Poirot, now retired, and living in exile, is convinced by his friend Ariadne Oliver, to look into the honesty and integrity of a medium, who's set to visit bereaved mother Rowena Drake.

If you're going into this one hoping for authenticity, you may be a little disappointed, I recently read the book, and aside from a few names and events, it is only very loosely based on the book.

Authenticity to one side, I really did enjoy this movie, talk about an interesting choice, you can understand why Death on The Nile and Orient Express were chosen, but Halloween Party doesn't exactly lend itself well to an adaptation, but overall it works very well, plenty of plus points.

The main winner, the visuals, with Venice they were never going to fail I guess, it looks sensational, but the camera angles and focuses are really nice, very atmospheric and suitably sinister, a shame a few scenes couldn't have been just a tad brighter. The masks, robes and costumes looked so good, they really did give it a Halloween vibe.

I'd say this is Brannagh's most accomplished turn as Poirot so far, the toned down moustache has definitely made a difference, he feels more like Poirot.

Well acted all round, Kelly Reilly is no stranger to Agatha Christie, she's excellent as Rowena, and as for the young man that played Leopold, he was great.

My one gripe, Ariadne, I'm not knocking Tina Fey, she did a good job, but when you read the books, I just don't see her as an American glamour puss, I wonder if we'll see her again.

I'm awarding an extra point for the fact that Branagh chose Halloween Party, and didn't opt for Evil under The Sun or Appointment with Death, but I wouldn't be surprised if one of those was number four.

It worked well, 8/10.

The change of setting to Venice is inspired, it gives it an otherworldly and insular, claustrophobic tone, which is emphasised by the camera work, and lighting, this one is tricky to review without spoilers so I must be brief, and leave some ideas out, the script is close to superb, but it just hits a couple of bum notes, the third act is over too soon, the denouement rushed, but in part it's because the mystery for all the effort and effects isn't that mysterious, but fundamentally the problem is Branagh, he obviously wants to be Poirot, but he isn't, he just isn't idiosyncratic enough, or dare I say talented enough, and he pales in comparison to the giant magnificent performances that have been before, the genius of Peter Ustinov only surpassed by the subtlety and diligence and sheer depth of David Suchet, one of the greatest acting performances ever, unfortunately for Branagh it's a tough school, and he just doesn't make the grade, gave it a 7, felt like an 8, but also a 6 coz of KBs love letter to himself.

Poirot (Kenneth Branagh) has retired and is living in Venice where he is visited by his old friend Ariadne Oliver (Tina Fey) who asks him to come to a seance held in a palatial Venetian house by top medium played by Michelle Yeoh who is seeking to speak with the spirit of a girl who apparently killed herself jumping from the building. Oliver wants Poirot to expose Yeoh as a fraud or start believing in the afterlife. He attends and there is a murder.

Branagh's third go at a Poirot story and depending on your fondness for these things, potentially the best. It is very different from the previous 2 mysteries in that whilst the usual interviews and ripping up of alibis takes place, there is a very distinct supernatural element here, which may or may not be real. What Branagh does though is use this to create a much darker and decidedly well crafted spooky story (he should definitely make a straight ghost story) which is looking both for a murderer and proof that the ghostly bit is true or false. So whilst the gloss and usual extravagant beautifully dressed characters might be missing there is still a great mystery to enjoy. I hope he does another one.

A Haunting in Venice is the best of Kenneth Branagh's trilogy of Poirot adventures. This one being a smaller scale whodunit with a supernatural edge fixes any remaining issues whilst still being an engaging mystery with a satisfying answer to whodunit.

Kenneth Branagh is still endlessly entertaining as Hercule Poirot, the humour is toned down here due to the darker story and yet again he's grown as a character by the end. Each one has tested something different, first it was his morality then his humanity and here it's his sanity that is pushed to breaking point.

The cast is still undeniably star studded but still smaller than the predecessor which means no one goes unnoticed. Highlights include Tina Fey who makes for a great double act with Branagh's Poirot and Michelle Yeoh, given her best role in a Western film in ages (excluding EEAAO of course).

Mostly being confined to one smaller, interior heavy location, Branagh's direction is even better that what's come before. His trademark canted angles have never been more at home and even though the film isn't massively scary, Branagh is still able to craft some effectively uncomfortable moments.

Thanks to the location this franchise is finally free of the distracting CG that's been its biggest flaw. Being majority practical just makes the whole thing infinitely more immersive and means the stylish visual composition on display isn't having to make up for shoddy effects.

This is my first foray into these Branagh Poirots having grown up with David Suchet on TV as him, so he had some big little Belgian shoes to fill.

Branagh brings enough intrigue and quirkiness to the character to make him his own, but in this film he is massively lost in the shadows of Tina Fey whose very presence steals any scene.

Whilst I didn't know the story/plot, it kept me guessing throughout, but some poorly executed shots and weak CGI moments gave the film an element of cheap horror film, and this jarred with the characters.

Yeoh's character was all too brief in her screen time, but she gave a great performance all the same. The main child actor - Jude Hill gives us a wonderfully intense, matter-of-fact, and sinisterly creepy Leopold. I hope to spot Jude flexing this skill in more films in future.

Wouldn't watch again, and likely wouldn't have gone to see it in the cinema if it wasn't because of friends wanting to watch it.