Critic Reviews

A Haunting in Venice is no downer. The script by Michael Green (“Logan,” “Blade Runner 2049”), who also wrote the first two Branagh Poirots, is at times ingenious, and he wrote a great part for Fey. As the mystery novelist Ariadne, a stand-in for Christie, she brings nice comic touches to a performance that threatens to steal the movie.

A Haunting in Venice is the best of Kenneth Branagh's Hercule Poirot movies. It's also one of his best, period, thanks to the way Branagh and screenwriter Michael Green respectfully adapt the source material (Agatha Christie's Hallowe'en Party) while at the same time treating it as a chance to make a relentlessly clever and visually dense "old" movie that uses the latest technology.

A Haunting in Venice is a moody Gothic horror feature that feels completely refreshing in a landscape of jump scares and gore.

Branagh breaks all the adaptation rules. He smashes genres together. He goes fully over the top, which is exactly the direction that his Christie adaptations have been rolling toward. Branagh finally breaks free, making A Haunting in Venice the best entry in the series to date.

In so many ways, A Haunting in Venice feels like some sort of culmination.

Kenneth Branagh’s third Poirot film is his best and strangest yet.

Third time’s the charm for a franchise that’s found its groove, ironically by changing the record.

A confection that is equal parts murder mystery, old-fashioned ghost story and supernatural thriller, the third instalment of Kenneth Branagh’s Hercule Poirot series proves to be the most enjoyable.

A Haunting in Venice marks the best, most succinct, and humorous adaptation of an Agatha Christie story by Kenneth Branagh yet.

Gorgeously shot on location by cinematographer Haris Zambarloukos, “A Haunting in Venice” is easily the best of Branagh’s three big-screen Christie adaptations, largely because it is also the most flagrantly unfaithful.