He seems resolved to a life of aloneness, which is not the same as loneliness. Aridane tracks down Poirot in a Venice apartment, where he's retired from detective work and seemingly in existential crisis (though one he'd never discuss without being asked). The adaptation transplants the story to Venice, sets it over 20 years earlier, gives it an international cast of characters thick with British expats, and retains just a few elements, including the violent death of a young girl in the recent past and the insinuating presence of an Agatha Christie-like crime novelist named Ariadne Oliver ( Tina Fey), who takes credit for creating Poirot's reputation by making him a character in her writing. The original Christie novel was published in 1969 and set in then-present-day Woodleigh Common, England. At the same time, amid the expected twists and gruesome murders, "A Haunting in Venice" is an empathetic portrayal of the death-haunted mentality of people from Branagh's parents' generation who came through World War II with psychic scars, wondering what had been won. It's fun with a dark streak: imagine a ghastly gothic cousin of " Clue," or of something like Branagh's own " Dead Again," which revolved around past lives.
LOOKS THAT KILL PARENT RATING MOVIE
Set mainly in a palazzo that seems as immense as Xanadu or Castle Elsinore (it's a blend of actual Venice locations, London soundstages, and visual effects), the movie is threaded with intimations of supernatural activity, most of the action occurs during a tremendous thunderstorm, and the violence pushes the PG-13 rating to its breaking point. It's also one of Branagh's best, period, thanks to the way Branagh and screenwriter Michael Green dismantle and reinvent the source material (Agatha Christie's Hallowe'en Party) to create a relentlessly clever, visually dense "old" movie that uses the latest technology. "A Haunting in Venice" is the best of Kenneth Branagh's Hercule Poirot movies.
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