Branagh’s third outing as Poirot is the charm.

Following all the Murder on the Orient Express and Death on the Nile, Hercule Poirot (Kenneth Branagh) has retired to Venice, Italy, where every palazzo is said to be either “haunted or cursed.” American author Ariadne Oliver (Tina Fey) lures the detective out of his self-imposed exile with a tempting offer: help her solve the mystery of Mrs. Reynolds (Michelle Yeoh), a spiritual medium with a flair for the theatrical who appears to be the real deal. As things often do in Poirot’s circles, bodies begin to turn up in a house full of suspects, and no one is above suspicion when secrets are being kept. This unwanted case is different, however, as the celebrated detective begins to question his sanity… especially when it appears the dead are seeking their own justice.

Adapted from the Agatha Christie novel Hallowe’en Party, director Kenneth Branagh takes bold departures to elevate the original source material. The action moves from the English countryside to the coast of the Adriatic Sea, the longer timeline is compressed into a single day and night, and a convenient storm in combination with other circumstances lock our characters into a tight box until the last revelation drops. Like the title, A Haunting in Venice barely resembles the source material, giving Branagh more room to play and surprise than his first two Christie adaptions, not to mention a spooky season thought-provoking treat for adults looking for more than another masked monster attacking fornicating teenagers. While this renewed cinematic franchise of whodunnits has gotten better with each installment, will straying so far from the source material work for or against this incarnation of the great detective?

As a murder mystery at its core, the sense of dread isn’t just from the potential murderers still in the building but the possibility of vengeful spirits with their own hit list. Of course, Poirot doesn’t believe in any of that — insert tragic loss-of-faith flashback to the grim realities of war here — but playing in the what-if gray area opens up options for some great visuals, startling reactions, and cranking up the spooky factor. All the trappings are here: a crumbling old house, a story of past evil happenings, a savage thunderstorm outside (which conveniently disappears by the end of the story), and all the unexplained random occurrences too-often attributed to the spirit world. The only disappointment is that future installments likely won’t include these extra elements, but it’s a credit to Branagh it works so perfectly here.

In his third portrayal of Poirot, the director continues to expand upon what motivates the detective, including Ariadne Oliver, who credits herself with making Poirot famous in-story with her mystery books she’s based off of him — funny considering the character is practically a Mary Sue of the author herself. Tina Fey plays Ms. Oliver with a sinister playfulness, both friend and foil who always seems to have an angle. What’s interesting is the demeanor of some characters changing as secrets are revealed and Venetian masks are dropped, but the effect is undermined when absolutely no one can be taken on face value ; call it “the too many masks” effect. Standout performances include a brief appearance by Michelle Yeoh as Mrs. Reynolds and Jude Hill as Leopoldo (whom Branagh poached from his own 2021 film Belfast).

These new adaptations feel like adult fair, serve as reworked period pieces, and refresh familiar content for fans new and old. With this Haunting, there’s room to suggest a greater departure from the text and more into the spirit of Agatha Christie — perhaps a wholly original undertaking? Only time and the box office receipts will tell.

A Haunting in Venice is rated PG-13 for some strong violence, disturbing images, thematic elements, and photographs unable to sing for themselves.

Four skull recommendation out of four