A Haunting in Venice Review | Flickreel

Unlike Murder on the Orient Express and Death on the Nile, A Haunting in Venice is a title that even the most diehard Agatha Christie fans won’t recognize. That’s because the book’s original title was Hallowe’en Party. It was admittedly wise of Kenneth Branagh to change the name, as audiences might’ve wandered in expecting a Michael Myers flick. The title isn’t the only element that gets tweaked in this adaptation. For starters, the book took place in England rather than Venice. The new setting not only helps to distinguish the film from its source material, but also from Branagh’s previous cracks at Hercule Poirot. While his tenure as Poirot had been mostly episodic, Branagh has done a commendable job at giving the character an arc. Death on the Nile left Poirot on an uncertain note. A Haunting in Venice sees Poirot regrow his mustache, although he’s left crime-solving in the past. Just when Poirot thinks he’s out, Tina Fey pulls him back in. Fey goes from Only Murders in the Building to playing Ariadne Oliver, a novelist who has found the inspiration for her next book. Not Poirot, but Joyce Reynolds (Michelle Yeoh), a medium who supposedly possesses a link
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