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Mystery, Thriller, Crime 104 min PG-13
Rotten Tomatoes75%Metacritic63IMDb
Death was only the beginning.
Celebrated sleuth Hercule Poirot, now retired and living in self-imposed exile in Venice, reluctantly attends a Halloween séance at a decaying, haunted palazzo. When one of the guests is murdered, the detective is thrust into a sinister world of shadows and secrets.
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Intimate, contemplative, plot-driven and meticulous.
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Written by TMDB members; each links to the original. Not part of Taste Buds's numbers.
#AHauntingInVenice #MovieReview This film initially presents itself as a horror movie but unfolds more as a murder mystery, deviating from the expectations set by its promotional material. It shares similarities with other movies starring the same actor in a recurring character role, resembling a continuation of a franchise with a different name. While the first two movies were decent, this one falls into the same category. It doesn't quite captivate or hold your attention throughout. The storyline feels somewhat lacking and could benefit from filling in some plot holes. Overall, it's an okay movie that doesn't excel in drawing the audience in. The predictability of the plot and clues may leave viewers feeling ahead of the protagonist, diminishing some of the suspense. Ultimately, this film seems more suited for streaming rather than a theatrical viewing. It may not be worth the expense of a cinema ticket.
Read the whole review on TMDBAnother take on Agatha Christie's books, this one takes the "Hallowe'en Party" (1969), into the screen on a loose adaptation. Again Kenneth Branagh leads on the direction and main role (the belgian detective Hercule Poirot), while on his retirement in Venice, in post-war Venice, 1947. The screenplay is by Agatha Christie (obviously) and Michael Green (Blue Eyed Samurai, Blade Runner 2049, Logan, and the previous two movies of this series "The Murder on the Orient Express - 2017, and Death in the Nile - 2022). It is a way better movie than Death in the Nile, but it doesn't reach the level of Orient Express tho. In all passes in a dark Venice palazzo, in a strange empty Venice, that is shown only into the begging and the end (that were actually shots on a London Studio as much of the movie). The CGI effects are really nice into deleting modern things (and actual tourist) nto some obvious closed famous spots on close angle shots. The cinematography of Haris Zambarloukos (another close colleague into Branagh works like the previous movies and Belfast) is really beautiful, even into the dark settings that can be into closed spaces or huge claustrophobic rooms. I've read somewhere that t
Read the whole review on TMDBUnlike his other two Christie adaptations featuring this character, this film does not have a previous, star-studded, version with which to compare. That's a good thing because this is certainly not one of the author's stronger stories. "Poirot" (Sir Kenneth Branagh) has retired to a sort of self-imposed exile in Venice where he sees nobody but the pastry chef. The arrival of fellow writer "Ariadne" (Tina Fey) teases what's left of his little grey cells and takes them to an old palazzo where there is to be a seance to try and ascertain what caused the strange death of the young "Alicia". He quickly discovers that those assembled consist a group of folks who all have baggage - individually, or with others from the party and of course, in the best "Cleudo" style, one of them is duly murdered in a nigh-on impossible fashion. The last ten minutes of this is quite quirky and as usual with this writer we are presented with a fairly left-field solution, but I found the bulk of the remainder of the mystery to be presented in a stylish and classy-looking, but ponderous and lethargic fashion. It's way too wordy and the cast don't really gel together particularly well as the sense of peril re
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