Aaron's Thoughts
A Haunting in Venice isn’t only Branagh’s best Agatha Christie adaption (by a mile I might add), but also the most cinematic. From the backdrop of Venice, to the horror elements, to the performances, it all feels so much more fit for the big screen than the CGI mess that was Death on the Nile. This should be a resounding reminder of why CGI will never replace shooting on location. The stunning portrait of Venice compared to those awful CGI pyramids in Death on the Nile is a difference of night and day.
It’s ultimately another murder mystery, but this one feels more lived in, purposeful, and less gimmicky than the others. Maybe that’s as simple as the title not being a giveaway for what the movie is about? With the first two, the titles made it very clear what you were waiting on to get the mystery started. So when you are thirty minutes into Death on the Nile and there hasn’t been a death on the Nile yet, you are helpless in waiting for the mystery to start. With A Haunting in Venice, the mystery about the actual mystery itself made this one really fun. It also helps that the actual craft of this one is significantly improved from the first two. The editing, cinematography, and sound design make it a must watch in IMAX.
Not going to lie, I rolled my eyes when this film was first announced. That said, if any future installments in the Branagh Agatha Christie cinematic universe (BACCU) would feel this authentic and inspired, I may be on board for Branagh to keep cranking these out.
