‘A Haunting in Venice’ review: Kenneth Branagh takes Agatha Christie to the supernatural

MANILA, Philippines — Kenneth Branagh is back for double-duty to direct and star as Agatha Christie's famous detective Hercule Poirot, this time adding an element of horror to the mysterious murder.

"A Haunting in Venice" is loosely adapted from Christie's 1969 novel "Hallowe'en Party," and it sees Branagh's Poirot trying out retirement in the Italian city, avoiding mysteries to solve where others have been stumped.

A persistent friend in American novelist Ariadne Oliver (Tina Fey) tags Poirot along to debunk just how real a séance in a supposedly haunted palazzo is, but the stakes get even higher when one attendee turns up dead — right after someone tries to kill Poirot himself.

Branagh has clearly grown attached to Poirot but was wary of how stale mystery movies can get if nothing fresh is added to mix, case in point, his previous Christie adaptation "Death on the Nile" which was hounded by questionable casting, among others.

With the help of collaborating writer Michael Green, changing the plot and setting of Christie's original story and giving the film a supernatural horror element makes sure "A Haunting in Venice" stands out from its predecessors.

The finished product can come off as predictable, and nothing may come close to the intricacies of "Murder on the Orient Express," but the fresh spin was necessary given the mystery genre's rising popularity as seen in the "Knives Out" movies.

It's a real refinement then that another collaborator of Branagh cinematographer Haris Zambarloukos — who also did the previous films — managed to make things different, adding suspense through shots of empty space and differently positioned focus a la "The Invisible Man" and "Hereditary."

Related: More turns than twists: 'Death on the Nile' review

Also a great improvement from "Death on the Nile" is the cast selection and their respective performances, again led by Branagh who gives Poirot a certain weariness but with instilled resolve when elusiveness comes around the corner.

Fey as Oliver is also a great complement to the stoic Poirot, the comedienne managing to poke fun at the detective's antics to bring out the much-needed thrill, something that all suspects' alibis needed too.

Of the remaining cast, those who also stand out are Jamie Dornan and Jude Hill — again a father-son duo like Branagh's "Belfast" — with a different kind of complementary relationship, Camille Cottin carrying on the Christie-like nature of characters, and Oscar winner Michelle Yeoh relishing the opportunity to be in a mystery film.

Kelly Reilly, Riccardo Scamarcio, Kyle Allen, Emma Laird, and Ali Khan round up the performances with little spectacle, which can be contributed to the fact that for all of Branagh's devotion to these films, there is still a glass barrier keeping it from being beloved to all audiences.

Regardless of where Branagh goes with Poirot from here, he has certainly treated Christie's stories with utmost respect and has kept the mystery genre afloat so other filmmakers like Rian Johnson could carry the torch.

Branagh has found great success as an actor, director, and writer, so whatever project he decides to try out next will surely be worth the watch, but don't count out Poirot returning to solve another case.

"A Haunting in Venice" is now screening in Philippine cinemas nationwide.

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