Poirot must both ferret out the killer and grapple with increasing self-doubt about his rationalist worldview
Christie completists puzzled by their failure to recognize the film’s plot needn’t fret. Although, the filmmakers use so little of the novel that it’s essentially a wholly original work. Branagh and screenwriter Michael Green — his collaborator on all three Christie films — not only move the action from the English countryside to Venice, they add the supernatural theme, invent an entirely new set of characters and retain only the faintest hint of the story .
Unfortunately for Branagh, his Christie films suffer a bit by comparison with Rian Johnson’s more sprightly, satiricwhodunits, in which Daniel Craig’s comically droll Benoit Blanc proves a far more winning detective than the dour Poirot, whose depressive aspect is overemphasized in these recent adaptations .
Still, Branagh’s old-fashioned approach to Christie undeniably matches the sensibility of the author, andprovides a large measure of pleasure, including Fey’s wry take on Christie’s Dr. Watson-style self-portrait, Hill’s budding Poirot in miniature and the expressionistic brio of cinematographer Haris Zambarloukos’ fisheye lenses and Dutch angles.
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