On his third try, Kenneth Branagh finally gets an Agatha Christie movie right. I had almost given up on the ongoing mystery series, dragging myself to his new “A Haunting in Venice” like I was the poor schlub who was about to be murdered. But, while “Murder On The Orient Express” and “Death On The Nile” were hack-job excuses to force as many disparate celebrities onscreen as possible, “Haunting” is an actual film.
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Grief casts a heavy pall in "A Haunting in Venice," Kenneth Branagh s third installment of his Hercule Poirot series. As both a director and an actor, Branagh has sought to imbue the meticulously groomed Belgian detective one of Agatha Christie s most beloved creations with psychological depth, even darkness. Since 2017 s "Murder on the Orient Express" and last year s "Death on the Nile," that aspiration has yielded some interesting artistic choices but, on a pure entertainment level, diminishing returns.
Anthony Lane reviews “A Haunting in Venice,” the third of Kenneth Branagh’s star-studded Hercule Poirot movies, loosely adapted from Agatha Christie, and Pablo Larraín’s “El Conde,” a vampire movie about the Pinochet regime in Chile.