A Haunting in Venice is the third entry in the Hercule Poirot franchise that started off with 2017’s Murder on the Orient Express. They all have been directed by leading man himself, Kenneth Branagh, who starts as Poirot and is the only returning character in each story. This entry has another murder mystery; however, this time around, the horror genre is added to the mix. It makes for an interesting premise for those who are familiar with the previous entries, while intriguing horror fans to jump on board with the film.

Branagh has been an interesting filmmaker. I haven’t seen all of his work, but from what I have seen, it’s either hit or miss. While I don’t think these films are groundbreaking work, the films manages to mix up different aspects of film to make itself stand out on its own, even if the premise is pretty much the same each time. If you are at all familiar with his work on 2011’s Thor, then you will probably know what I mean when I say the cinematography here is similar, specifically the Dutch angles. I am crazy on this type of camera work, but it works extremely well here. Branagh also utilizes different types of cinematography as well by placing characters on one side of the screen while keeping the other side void. It’s actually a unique way to keep the viewer guessing on what may pop up.

Branagh’s work as the titular character is also iconic in its own right, and because of that, I’d love to see more of these movies. What will keep me coming for more of these movies is the fact that they slowly show just a bit more of this character in each one to make it far more interesting. In this one, Poirot is certainly challenged as he has to juggle his own talents as well as having to deal with things that are out of his control, making him more realistic in the long run.

Perhaps the biggest drawback in the entire film is what I’d say is the same with the previous films, which is the plot and the side characters. Going into this, I had a feeling that I was going to be watching the same plot as the other ones, and I wasn’t wrong. Due to how the other side characters are presented, it’s quite easy to guess what’s going to happen next in the film. I won’t get into spoilers here, but I would say that one of the biggest complaints I have with the films is how they almost become the same movie each time because of this particular trope.

Mentioning of the side characters, I have mixed feelings. It’s another great all-star cast; however, they are never really utilized to their fullest potential. Michelle Yeoh is just there, a pair of siblings who act like a couple are just there, and the rest is pretty much there just to push the story forward. In certain ways, the film tend to dumb it down on what comes next by utilizing the characters in a way that feels recommendable. In this way, the film tends to hold your hand for what comes next. The one standout though has to Jude Hill, who plays as Leopold Ferrier. His acting was probably amongst the most effective. I can certainly see many talking about him in the end.

As a horror film, even though I’d say it’s safe horror, it’s also just enough to make it stand out on its own. The film tends to rely on loud noises for its jump scares. The scares can also be seen coming a mile away. I can see horror fans being a little disappointed with this, so I am not sure if marketing as a horror film was the most effective thing to do. If anything, I can appreciate them actually using this different genre effectively in order to keep fans of the Poirot character surprised and engaged, even if the plot can be mundane and similar at times.

Overall, A Haunting in Venice is just about as good as the previous two entries, if not, better than the first two due to its unique cinematography. It won’t be something that I’d ever rewatch based on desire. If anything, I can see myself recommending this movie as one to study for its cinematography. I, also, would be intrigued in watching more of these Hercule Poirot stories.

VERDICT: Good