Regie:
Kenneth BranaghDrehbuch:
Michael GreenKamera:
Haris ZambarloukosMusik:
Hildur GuðnadóttirBesetzung:
Kenneth Branagh, Tina Fey, Camille Cottin, Kelly Reilly, Jamie Dornan, Kyle Allen, Jude Hill, Riccardo Scamarcio, Emma Laird, Ali Khan, Michelle Yeoh (mehr)Streaming (5)
Inhalte(1)
Der Tod ist nur der Anfang. Inmitten von Venedig, kurz nach dem Zweiten Weltkrieg, nimmt Meisterdetektiv Hercule Poirot (Kenneth Branagh), der inzwischen im Ruhestand ist und in seinem eigenen Exil lebt, in Venedig widerwillig an einer 'Seance' teil. Doch als einer der Gäste ermordet wird, liegt es an dem ehemaligen Detektiv, den Mörder erneut aufzudecken... (Leonine)
(mehr)Kritiken (12)
After Death on the Nile and Murder on the Orient Express comes Venice, and to my surprise I enjoyed it the least of all the episodes, despite quite positive reviews from other users. The mixing of horror and Hercule Poirot's detective story doesn't go together, and where other episodes relied on the graceful narration of alibis, putting the pieces together and the final synthesis of all the observed information into a final revelation, this film tries too hard to horror, scaring the viewer and suggesting ghosts, but somehow forgets the detective part. After an hour or so of the introduction, in which they try to "bludgeon" us to death, then somehow the interrogations come and before you know it, we're at the end, where Hercule somehow pulls the whole version of the story out thin air, which I didn't catch at all, and we're already in the closing credits. Rushed, poorly genre-mixed and something completely different than I would expect from this type of film - quite disappointing actually. Compared to Orient Express, the whole detective part lags behind, and compared to Nile, the film is not at all good in its chosen locations and breathtaking shots of the desert.
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Ich denke, dass dies Branaghs (bis jetzt?) bester Poirot ist. Die Entscheidung, einen weniger bekannten Fall darzustellen, hat sich gelohnt, der Schauplatz Venedig war eine großartige Idee… Und das absolut Beste ist die Art und Weise, wie Branagh – der Regisseur – das beengte Milieu des alten feuchten Hauses nutzt, wie beunruhigend die Aufnahmen aus verschiedenen Winkeln sind, wie spannend und manchmal sogar zu 100% gruselig es ist. Die Lösung des Rätsels überrascht vielleicht nicht einmal diejenigen, die die Vorlage nicht kennen, aber das ist wieder nicht das Wichtigste. Es geht darum, wohin der Fall Poirot selbst führt. Und das ist wieder absolut großartig geschrieben und gespielt.
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Diesmal nahm sich Branagh einen weniger bekannten Krimi vor und begab sich zu Halloween ins Venedig der Nachkriegszeit: auf den ersten Blick eine vielversprechende Konstellation. Die Kulisse eines alten, "verfluchten" Hauses und die allgegenwärtige Kinderstimme "aus dem Jenseits" gaben dem Film einen leichten Horror-Touch, der dazu beitrug, eine beklemmende, vielleicht sogar paranoide Atmosphäre der Geschichte voller Aberglauben, Geister und persönlicher Traumata aufzubauen. Dennoch hatte ich das Gefühl, dass irgendetwas an dem Film nicht stimmte: sei es die Besetzung von Tina Fey, die Inszenierung einiger Szenen aus reiner Effekthascherei oder die etwas übereilte Enthüllung des Täters und seine anschließende Bestrafung. In Anbetracht des Themas und der Kritiken hatte ich übermäßig hohe Erwartungen an den Film, die nicht zufriedenstellend bedient wurden. Aber ich würde lügen, wenn ich behaupten würde, dass ich im Kino keinen Spaß hatte. Vielleicht werde ich eines Tages nach Venedig zurückkehren und meine Meinung revidieren.
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Admittedly made for less money, but by a huge margin the best Poirot by Kenneth Branagh. Intimate, elegant, understated, atmospheric. Where the Orient Express and the Nile are overwrought and digital of, the beautiful mysterious residence in Venice makes do with playful camera angles, and without any CGI gimmicks. The horror overlay a nice bonus, oddly enough it holds up throughout the film, it wasn't just a trailer attraction.
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A Haunting in Venice is very different from Kenneth Branagh's previous Poirot films. The less star-studded cast and smaller budget are not problem, the effort to use enclosed spaces for clever and spectacular camera games is nice, and it manages to be pleasantly creepy. An interesting and pleasant change. If Branagh plays with atmosphere and genre like this in future adaptations, I'll be happy to be there.
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For the third time, I ventured into the world of Hercule Poirot through Kenneth Branagh’s portrayal (his French-accented English is, once again, impeccable), hoping to finally find the atmosphere I’ve been longing for. And this time, it truly delivered. A Haunting in Venice shines with its fresh cast and replaces the lavishness of previous installments with a more intimate setting that suits the detective perfectly. The stunning shots of the house interiors never get old, and Venice’s empty streets are always captivating. The stormy weather adds a mandatory layer of suspense. Perhaps it also helps that this story isn't as familiar. For me, it was fantastic — mysterious, almost horror-like, and capped off with a perfect twist that left me leaving the theater utterly satisfied.
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I stupidly gave it a chance again and it didn't work out, for the third time. Hercule Poirot for me is probably the most boring and least interesting detective of them all (for example comparing him to Sherlock it's 100 and 1). Again it is filmed and presented in a way that could have entertained my grandmother and grandfather, but for me, and I believe the younger generation. the film is hard to digest. This time the cast wasn't worth much either, which reflects the actors lack of interest in acting in this one. The whole film is very slow with no hint of suspense or atmosphere (no, I didn't see any horror elements here), the fact that it lacks momentum and drive is one thing, but the fact that I didn't enjoy the dialogues, story and characters is another. I didn’t guess the killer, but the final denouement did nothing for me, the final explanation is supposed to deliver a proper build-up (like in Saw), but it never happens. I really don't enjoy this style of detective stories without murders, where the whole movie is spent listening to people bored by Branagh. Delete, forget, honor. 4/10.
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"After death there's..." - "Nothing." Poirot is pulled from his Venetian idleness and gardening to use his rationality, supported by unfortunate life experiences, to put an end to the supernatural. However, there is no "irresistible case" here. To achieve that, the damp walls would need to lose some of their theatrically infused mannerisms and ineffective scares, and be aired out with a stronger atmosphere of whodunit uncertainty. Then, perhaps, the characters wouldn’t be so dull and lifeless. For the Belgian with remnants of glue and rhododendron pollen under his nose, it nonetheless brought an interesting realization: that the little gray cells can crack a case even when under the influence. Or was it because of that...?
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Kenneth Branagh's first Poirot installment, which isn't an adaptation of a well-known novel, tested the strength of his era for the first time. While Murder on the Orient Express and Death on the Nile sparked various debates because these cases always had multiple versions, "Hallowe'en Party" never belonged among notoriously famous novels. So far, there have only been two television adaptations - Hallowe'en Party (2010) and Meurtre à la kermesse (2014). The concept of a Halloween horror in the confined space of a Venetian palace is exquisite. Likewise, Poirot's interaction with the famous Ariadne Oliver is excellent. It's a great affair that practically instantly becomes an autumn classic. If Branagh continues with this, it would be ideal to choose another lesser-known case. However, it's potentially unfortunate to shift the entire thing into the post-war world (this film is set in 1947), thus closing off the opportunity to further develop Poirot's real interwar world.
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Kenneth Branagh has conceived the third installment of his Poirot series in a completely different way than the first two, with a horror, schizophrenic atmosphere that flirts with the mystery genre and leaves the hero initially floundering and unsure. Haris Zambarloukos's camera alternates between unconventional angles of waterlogged rooms and views of a drizzly Venice in an amazing way, perfectly emphasizing that uncertainty. The sound design is amazing and really stands out in Dolby Atmos. The plot, for me, is unorthodox and the denouement is unexpected. This concept suited me very well and I'm looking forward to the sequel.
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Kenneth Branagh continues with the same, generic whodunit that is a carbon copy of the previous one. Only instead of the sunny Nile Delta with its often overly digital Pyramids, we have mysterious Venice, specifically a gothic house full of strange sounds and untold secrets. Not a single moment is remarkable, not a single shot or sequence of events unpredictable. At least it is briskly told and with a few wannabe horror moments and a decent production design, and it also has a decent (meaning short) running time.
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For me, this was quite a big disappointment. No, I haven’t seen Death on the Nile yet. However, I can compare this film to Murder on the Orient Express, and that one wins by a long shot. The idea of combining a classic detective story with horror elements seemed interesting on paper, but the result felt rather jarring. One wants to enjoy the intricate relationships and the murder investigation, but that’s hard to do when the film tries to scare you (and does so in a rather cheap way, even by horror standards). I also agree with the criticism that setting it in Venice was completely unnecessary. Why choose such a picturesque city when 90% of the plot takes place indoors? I don’t understand...On the other hand, Kenneth Branagh was excellent. I enjoy his eccentric take on Poirot (a similar example would be Craig’s Benoit Blanc from the Knives Out series). It’s extravagant but effective. As for the story with supernatural elements, I expected a more ingenious explanation. For a blockbuster, the ending felt rather lazy and poorly executed. What a shame. I give it a 5.5/10.
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