Tag: Venice

A HAUNTING IN VENICE – Review

(L-R): Riccardo Scamarcio as Vitale Portfoglio and Kenneth Branagh as Hercule Poirot in 20th Century Studios’ A HAUNTING IN VENICE. Photo by Rob Youngson. © 2023 20th Century Studios. All Rights Reserved.

Agatha Christie fans will delight in A HAUNTING IN VENICE, because Kenneth Branagh really hits the mark with this one.

Branagh has directed and starred a few of these Christie classic mysteries as Belgian detective Hercule Poirot, featuring star casts and a big, splashy out-sized approach (including Branagh version of Poirot’s famous mustache). Those films have been based on very familiar Agatha Christie mysteries, the ones that have been done, on big screen and small, many times before over the years, which meant they invited comparison, sometimes unfavorable, to some stellar films and productions.

With A HAUNTING IN VENICE, Branagh takes a different tack. This Agatha Christie mystery film is based on a less-familiar Poirot mystery, Christie’s “Hallowe’en Party,” but it is re-set in an irresistible location, Venice, and the story is altered from the original in other ways, transforming it into a tale with elements of a supernatural ghost story. This time Branagh strikes gold. That extravagant mustache returns, and again there is a cast with some big name stars, but otherwise it feels like something completely fresh, a movie that is more immersive, unexpected and intriguing.

A HAUNTING IN VENICE leans into the mysterious atmosphere and haunting beauty of Venice, one of the world’s most storied cities. While all Agatha Christie mysteries are murder mysteries, this one is unusual in that it also has a ghost story side. Further, the story is set not during Venice’s Mardi Gras carnival season, with its masks and secrets, but at Halloween, with its masks and mischief, starting with a children’s costume party full or games and bobbling for apples, followed by a more serious seance attended by grown-ups.

Now-retired detective Hercule Poirot (Kenneth Branagh) is living quietly in Venice when he is sought out by mystery author Ariadne Oliver (Tina Fey) who wants the famous detective to help her de-bunk famed spiritualist medium Joyce Reynolds (Michelle Yeoh) at a seance in a private home on Halloween.

The seance is to take place at a grand old mansion, a palazzo, and before the seance, the home will host a Halloween party for orphaned children. The legend is that the palazzo was once a Medieval orphanage but when the plague hit, the orphans’ caretakers abandoned their charges, and the ghosts of those abandoned children still haunt the house, seeking revenge.

But that legend is not why the spiritualist is being called to conduct a seance. The woman who owns the palazzo is a retired famous opera singer, Rowena Drake (Kelly Reilly), and she is hoping to contact her dead daughter, a young woman who either jumped or fell to her death in the canal while in the grip of madness. Whether it was suicide, an accident or murder has remained unclear, but the distraught mother still mourns her lost child and seeks to hear her voice again.

Venice itself is almost a character in this tale, as is the still grand but eerie palazzo. Calling on this legendary atmosphere, Venice really shines in its dark, watery, and mysterious way. Branagh makes the most of the location, leaning into all things Venice, with art direction and moody half-lit photography.

Tina Fey’s author Ariadne Oliver’s arm-twisting compels Branagh’s Poirot to go to the palazzo’s Halloween party but whether he will even stay for the seance, much less expose the medium or solve any murder or murders, are details the film slowly reveals. Of course, as with any Christie tale, a diverse group turns up, invited or not, for the proceedings, and all of whom have some connection to the dead young woman, their own secrets, and perhaps motives for murder. Supporting characters include Olga Seminoff (French actress Camille Cottin, who was so excellent as Golda Meir’s assistant and confidant in GOLDA), a straight-laced servant with her own secrets, and Dr. Leslie Ferrier (Jamie Dornan, who played the father in Branagh’s BELFAST), the family’s doctor who is haunted by his war experiences, along with his young son Leopold Ferrier (Jude Hill, the boy in BELFAST) a solemn and wise-beyond-his-years youngster who seems more the parent than his sad father.

Branagh has dialed back his Poirot in this performance, and added a level of doubt not usually seen in Poirot, which works very well here. Tina Fey’s author Ariadne Oliver clearly to represent Agatha Christie, referring to her novels as being based on the exploits of the famous detective, but nothing in Tina Fey’s performance makes you think of the British writer. The supporting parts are strong, with young Jude Hill and, of course, Michelle Yeoh, as memorable standouts.

Without the intense familiarity of the better-know Agatha Christie tales, the audience is allowed the pleasure of trying to figure out the various mysteries, and to better appreciate the writer’s skill in building suspense, and the script made other changes to the novel’s plot to keep us guessing.

The mystery is given a big boost by the Venetian setting and the watery house alone but beautiful, austere, moody photography enhances things too. The photography is perfect and lovely, just what you want for Venice and that the story largely takes place at night adds even more to the mood. All old Venetian houses have unused levels below water and an inherent mysterious atmosphere in them, particularly after the sun goes down. Branagh draws on all that delicious atmosphere with relish. Add in some candlelight, fine old furniture, vintage details and all those period costumes, and our imaginations to do the rest.

All this is catnip for Christie fans but if this kind of cleverly-plotted, period murder mystery is not to your taste, this one might not be for you. As for me, as a fan of Christie, suspense and Venice generally, it is very much my cup of tea (and there are cups of tea). Also note that while is a supernatural element, this is a crime thriller, not horror.

Kenneth Branagh hits the Agatha Christie target dead-on with A HAUNTING IN VENICE, and one hopes that will continue with the next one, as there likely will be another. But it will be hard to top something like this suspense yarn set in Venice at Halloween.

A HAUNTING IN VENICE opens in theaters on Friday, Sept. 15.

RATING: 3.5 out of 4 stars

MISSION IMPOSSIBLE: DEAD RECKONING PART ONE – Review

With this week’s release of an entry in a blockbuster action franchise the old adage of seven being a lucky number will truly be put to the test. Now it’s not the highest number franchise as we’ve gotten FAST X or the longest running like the big flick from almost two weeks ago, INDIANA JONES AND THE DIAL OF DESTINY (way back in 1981). Of course, we can add on the inspiration for this series, actually a TV series (overseen by Lucy…really) which exploded onto the airwaves way back in the prehistoric era (nah, merely 1966). Oh, but this “tentpole” has catapulted well past its “network” roots. Still, it’s tough not to hear that infectious theme music from Lalo Schifrin when taking in this rather long title (but thanks, Paramount, for being “upfront” about it) MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE. And now I’m seeing that sizzling fuse in my head.


Surprisingly this new installment doesn’t begin with the finale of another caper involving the IMF (Impossible Missions Force). Nope, we’re on board for the last cruise (‘natch) of an “invisible” Russian submarine. Advanced top-secret stealth capabilities really, completely undetectable. But not indestructible as two prized interlocking keys are left floating in its wreckage. This leads to a new mission, which he “chooses to accept”, for IMF ace Ethan Hunt (Tom Cruise), who is sent to the Namib desert for a deadly reunion with old cohort Ilsa Faust (Rebecca Ferguson). Soon he’s back in the States as a “hush-hush” meeting of “the Community” outlines the urgent need for said keys. It’s the only way to stop a now rogue AI program called “the Entity”, which has become sentient and desires to use the world wide web to take over the planet. Hunt’s boss Kitteridge (Henry Czerny) is present, along with his superior, DNI head Denlinger (Cary Elwes). Learning of Hunt’s involvement, he sends out a team led by Briggs (Shea Whigham) and Degas (Greg Tarzan Davies) to stop the IMF. Reuniting with his teammates and pals, Luther (Ving Rhames) and Benji (Simon Pegg), Hunt travels to the Abu Dhabi airport to intercept a key transfer. Said item is snatched away by pro pickpocket/ “drop-pocket” Grace (Hayley Atwell). But Hunt also has to deal with the return of an old enemy, the ruthless and deadly Gabriel (Esai Morales), who’s helping the Entity. This leads to a globetrotting race for the keys, with stops in Rome and Venice, battles with Gabriel’s aide, the deadly Paris (Pom Klementieff), and a tense showdown by another woman from Hunt’s past, Alanna AKA “the White Widow” (Vanessa Kirby). Eventually, everything and everyone converge on a heart-stopping ride aboard the Orient Express (with no Belgian master detective to help). Perhaps this is a mission that’s truly impossible.

This thriller boasts an impressive acting ensemble, but once again this is Mr. Cruise’s show. In the previous sextet, he’s more than proved his skills in selling spectacular action stunts. However, Ethan is not merely a “daredevil. We see some of his warmth and committment to his team, while forging a couple of possible romances. Plus he injects humor into these dire predictaments as he quickly “switches gears” when plans go awry, and even shows a sign of panic as he works up the “nerve” to plunge forward. And then Cruise shows us that the “superspy” is a man of principals when he decides to block the “higher-ups” who lust after the Entity. As mentioned earlier, his sometimes squabbling duo has is back. Rhames as Luther is often the wise and grounded elder mentor, sort of the “cool uncle” , while Pegg as Benji is the often over-excited and exasperated “kid brother” who only gets “in the field” when absolutely needed. Ferguson is quite dynamic and decisive as the skilled Faust, while Kirby is slinky and sexy as the unpredictable “wild card” Alanna. Probably the best of the “newbies” is Atwell, upending her MCU Peggy Carter persona, as the “in it for the bucks” Grace who slowly starts to regain her ethics due to the influence of the IMF and especially Hunt (and yes, there’s a playful chemistry between them). As for the “opponants”, Wigham and Davis are very good as the “by the books” partners who seem to always be a step or two behind Hunt, earning a begrudging respect from the elder agent. But the biggest “baddie” is Gabriel played with a chilling dead-eyed glare by Morales. He’s a near-unstoppable force of villainy, who doesn’t hesitate in inflicting violence against anyone, especially Hunt’s friends (it appears to be his only source of pleasure). A good counterpoint to this “weapon” is Klementieff’s Paris who does derive lots of joy from the chaos she creates. Czerny is quite effective as the morally ambiguous IMF chief, who seems to have his own sinister agenda, while Elwes is “carving a niche” for himself as a smarmy bureaucrat who’s in need of a comeuppance.

Taking the directing chair for the third time is Christopher McQuarrie who keeps the story moving with nearly as much energy as one of Cruise’s manic sprints (yup, he’s burning up the “shoe leather” once again) making it feel like half of its163-minute runtime. Yes, the bulk of the flick consists of several big action sequences, but McQuarrie doesn’t let them veer too much into the “silly” or needlessly repetitive. The Rome chase is full of twists and even allows for some nice “interplay” between Hunt and Grace (hear that, FAST X). And the “tiny car” comedy outdoes Indy’s trek in Tangiers. Speaking of Dr. Jones, the Orient Express train sequence easily bests the DIAL WWII prologue (which is perhaps its best moment). And the Venice “techno dance arena” here has more gravitas than the similar setting in the recent John Wick opus. But unlike many of those other recent blockbusters, there’s lots of fun to be had in between the fighting and driving as we get a greater understanding of the bond between the IMF, who now seems to be a mix of the A-Team, the Lone Ranger, the Magnificent Seven, and a touch of the Avengers (movies and TV show). Sure the locations are stunning, but the main selling point continues to be Cruise’s insistence in doing as much of the stunt work as possible. He wants us to know that he’s not “chilling” in his trailer. It’s almost as though he’s the modern-day version of the silent movie “thrill” comic actors. Of course, Jackie Chan touched on that with his Chaplin-like agility in his early career, but Cruise takes it a bit further. In GHOST PROTOCOL, he’s riffing on Harold Llyod in SAFETY LAST as he climbs that towering skyscraper. With the big railway finale here, I was reminded of Buster Keaton’s THE GENERAL. And like those classics, many of the scenes will have you gripping those armrests. In short, this is a most worthy addition to the series, mixing a “ripped from the headlines” menace/McGuffin (Y’know, AI “creating art”) with new locales and deadlier dangers. Oh, and again, extra kudos for stating that the story is continued, right up front in the titles and promotions. FAST X, ends on a cliffhanger leading to a couple more flicks (sheesh), and I love the new SPIDER-VERSE dearly, but they shouldn’t have lost the “sprayed-on graffiti-style” Part One after the first couple of teasers and a few toys. So, be like this flick and “put it out there”, studios! If only all the Summer blockbusters were as forthright, exciting, and fun as MISSION IMPOSSIBLE: DEAD RECKONING PART ONE. Now, when does two arrive?

3.5 Out of 4

MISSION IMPOSSIBLE: DEAD RECKONING PART ONE is now playing in theatres everywhere

SPIDER-MAN: FAR FROM HOME – Review

Wallopin’ web snappers, that’s one busy lil’ bug. Sorry, arachnid, I know. I’m speaking of our “friendly neighborhood” Spider-Man. In particular, the hero as played by Tom Holland. After all, he was introduced to us only three years ago, when Sony Studios (so very wisely) handed over the creative reigns of the character’s live-action film franchise to the Disney/Marvel Studios. But Sony could still do (and does) spin-offs (like last year’s VENOM) and animated films like the Oscar-winning SPIDER-MAN: INTO THE SPIDER-VERSE. Of course, Holland follows in the spandex boot steps of Tobey Maguire (2004-06) and Andrew Garfield (2012-14). Now the webbed wonder was part of a bigger movie “playground” and immediately swung into the “big brawl” in 2016’S CAPTAIN AMERICA: CIVIL WAR. He got his first solo flick (with a big assist from Iron-Man and an inspired cameo from Cap) the next Summer. And naturally, he was part of the epic Avengers clash with Thanos that concluded about two months ago. Wow, this dude deserves a vacation. So after a harrowing HOMECOMING, here comes SPIDER-MAN: FAR FROM HOME. Do you really think you’ll get a little R&R, young Mr. Parker? Okay….

This globe-trotting adventure starts in a Mexican village that’s the site of a destructive disaster. But not a natural one. That’s why Nick Fury (Samuel L. Jackson ) and Maria Hill (Cobie Smulders) arrive to investigate. Moments after stepping out of their vehicle, the two are threatened by a towering creature. Then out of a green cloud, a caped man mounts a counter-attack. Back in the “Big Apple”, the students of Midtown High are still dealing with the aftermath of “the blip”. That’s their phrase to describe the “Thanos snap”, which sent about half of the student body into a five-year limbo. When they returned the kids hadn’t aged while those not “blipped” did (lots of awkward moments, for sure). Despite that disruption, Peter Parker (Holland) and BFF Ned (Jacob Batalon) are psyched for the Science Club’s big tour of Europe. Ned’s daydreaming of an overseas romance while Pete is hoping to get closer to MJ (Zendaya). That night, as Spider-Man, he helps Aunt May (Marisa Tomei) with a charity fund-raiser for those affected by the blip. Backstage, Happy (Jon Favreau) drops by with a big check, but Pete suspects that he’s there for May (“eeyeww”). Happy warns Pete that Nick Fury wants to talk to him, but Pete sends his call to voicemail. The next day Pete and his pals are on the big flight, first stop Venice. All’s well until another dangerous titanic monster emerges from the canals. Luckily the caped man appears and teams up with Pete. Later he discovers Fury waiting for him in his hotel room. The two go to Fury’s secret base of operations where they meet Maria and the “caped man” who calls himself Quentin Beck (Jake Gyllenhaal), though the local media dub him “Mysterio”. He explains that he came to our Earth through a dimensional rift from his version of Earth (another oddity caused by Thanos). Unfortunately, the monsters that destroyed his planet, “the Elementals” (Earth, water, etc.), followed him. The worst of them, “Fire” is still at large, and Fury wants Spidey’s help. But Pete can’t since he’s with his high school crew (if they see Spidey then they’ll put “two and two together”). Does he think that Fury will take no for an answer? And more importantly, when will Pete get some “alone time” with MJ? Talk about a “long, strange trip”.

Once again, Holland is the perfect embodiment of the beloved pop culture icon. This time though he gets to bring more emotional shadings to Peter and his alter ego. Through his mournful eyes, Holland shows us that he’s still dealing with the loss of an adored fallen friend (better play it safe in case there those unaware of the epic finale of this year’s biggest blockbuster), whose image seems to be everywhere. But then there’s the possibility of romance as Holland behaves like an excited puppy as he plots and plans to “woo” MJ. And there’s the anxiety about having to “step up to the plate” to battle these otherworldly menaces. That’s where Gyllenhaal’s Beck figures in. With his empathetic gaze and somber sense of gravitas, which gives an added punch to his tragic backstory, Beck seems to be the mentor/big brother/ father figure that Peter needs. Plus Gyllenhaal makes a decisive action hero, working that dark magenta flowing cape (a good contrast to his fluorescent green bodysuit) like an old fashioned swashbuckler. Oh, speaking of “father figures”, the cranky demanding “bad Dad” to Beck’s nurturing, encouraging “good Dad” is Jackson in his third “go-around’ this year (!) as Fury. The perpetually P.O.’ ed superspy has no patience for Pete’s teenage concerns and will get his mind on the “right track”, something that Pete really does need. Plus it’s great to see Jackson paired up once more with Smulders as the tough, no-nonsense Hill.

Here’s a nifty full page splash from Spidey’s co-creators in 1963’s Spider-Man Annual #1. Dialogue by Stan Lee. Art by Steve Ditko

While the above-mentioned actors handle most of the big action set pieces of the story, a terrific supporting cast adds wonderful comic relief and some provide the tale’s big emotions. That’s the case with Zendaya who still slays with a snarky insult as the very cool MJ. In this flick, Ms. Z shows us that the air of detachment is a wall she puts up to conceal her true feelings, at times a defense barrier, one that is slowly being taken down, brick by brick, by Pete’s sunny honesty (maybe not about everything). She’s a good action heroine, rather than another “damsel in distress”. Then there’s the always enthusiastic, optimistic Ned played with great comic timing by Batalon whose unexpected subplot yields lotsa’ laughs. Also hilarious is Tony Revolori as the taunting, arrogant Flash Thompson, whose bravado may also be a defense against an inner turmoil (a touch of pathos). Tomei as “Aunt” May is still Pete’s always encouraging supportive anchor, but now she’s his partner, bouncing back from the shock of the revelation at the end of the last film. It’s no wonder that she attracts the attentions of Happy Hogan, played with blustery gusto by Favreau. He and Pete share an affection for her along with a sense of loss for a friend (again, avoiding a spoiler). He could be more of an affable “Dutch uncle” who frets over Pete as often as he’s frustrated by him. There are many inspired “pairings’ in the film, but the funniest may be the class trip faculty chaperones played by the fabulous comic actors Martin Starr (seems like he was just a student on the TV treasure “Freaks and Geeks”) returning as Mr. Harrington and J.B. Smoove (HBO’s “Curb Your Enthusiasm”) as driving instructor from the 2017 promotional short, Mr. Bell.

And here’s the conclusion of Mysterio’s initial appearance on the 1960’s Spider-Man Saturday morning cartoon

Returning director Jon Watts gives us another thrilling superhero epic, though he’s going for a different “vibe” this time around. Unlike Homecoming, he’s not going for the big laughs, often with slapstick “payoffs” in the web-swinging battles. After an opening scene or two dealing with the tragic finale of the last MCU release, the story, aside from the monster attacks, settles into an update/reboot of the romantic teen comedy/dramas of the early 60s, like WHERE THE BOYS ARE, ROME ADVENTURE, or A SUMMER PLACE, with young people falling for each other in exotic locales. But credit screenwriters (also Spidey vets) Chris McKenna and Erik Sommers for balancing the “hearts and flowers” couplings with a plot full of twists and turns, deceptions and determination. Like ENDGAME it dives very very deep into the whole Marvel “movie-verse” to throw us plenty of curves. Unfortunately, the conflict gets a tad tech-heavy, with Spidey almost becoming a computer game avatar in the big London-based climactic showdown. The wallcrawler works best against flesh and blood adversaries like the Vulture (and Kingpin in last year’s animated film) where it becomes a “mano y mano’ battle of wills. Still, there are some remarkable sequences, particularly as Spidey tries to survive a true waking “nightmare” in which his innermost fears spring to vivid ferocious life (and using some creative comics images). The European location work is most impressive (maybe some savvy company will put together a travel tour based on this flick) and the stunt work is astounding (with Pete out of the spandex for a couple of scenes), though that ending may be too visually “busy”. Still, it’s an entertaining, thrilling romp with a mid-credit sequence promising an interesting new direction (of course, you know to stay through the credits). Audiences will be happy that they were caught up in the tangled web of SPIDER-MAN: FAR FROM HOME. Now, where’s that passport?

3.5 Out of 4 Stars