Kenneth Branagh is haunted by Hercule Poirot.

Hercule Poirot is the mastermind Belgian detective of Agatha Christie novels.

Branagh plays Poirot for a third time in “A Haunting in Venice,” which Branagh directs as he did with “Death on the Nile” (2022) and “Murder on the Orient Express” (2017).

Agatha Christie novels are celebrated adaptations for movie theater and television screens. None more so than those featuring Agatha Christie’s beloved character, Hercule Poirot.

“Agatha Christie’s Poirot” was televised 1989 - 2013 with more than 70 episodes of approximate 50 minutes each.

Christie wrote 33 Poirot novels and one Poirot short-story collection. The stories took place from the 1920s to 1970s.

Kenneth Branagh (Oscar recipient, original screenplay, “Belfast,” 2022; five Oscar nominations) directs “A Haunting in Venice,” based on Agatha Christie’s novel, “Hallowe’en Party” (1969), from a screenplay by Michael Green (Oscar nomination, adapted screenplay, “Logan,” 2018; screenwriter: “Blade Runner 2049,” 2017; “Death on The Nile”; “Jungle Cruise,” 2021).

In “A Haunting in Venice, it’s 1947 in the fabled Italian city. Hercule Poirot (Kenneth Branagh), now retired, is a skeptical observer at a séance when the sayer in sooth, Mrs Reynolds (Michelle Yeoh), seems incapable of predicting her own demise.

In contrast and in predictable Agatha Christie “And Then There Were None” (1940) fashion, around the table are the usual suspects.

There’s Dr. Leslie Ferrier (Jamie Dornan), whose girlfriend, Alicia Drake (Rowan Robinson), was the beyond-the-grave table-talk subject.

There’s Rowena Drake (Kelly Reilly), mother of Alicia; Maxime Gerard (Kyle Allen), Alicia’s ex-fiancé; Leopold Ferrier (Jude Hill), son of Dr. Ferrier, and Olga Seminoff (Camille Cottin), Rowena’s housekeeper.

Present and unaccounted for is Ariadne Oliver (Tina Fey), a murder-mystery novelist.

There’s also a parrot, and he’s not talking.

“A Haunting in Venice” is directed in a cinematic style that I dub walk-ons, or as Lehigh Valley film-maker Vincent Mondillo might put it, “The March of The Wooden Soldiers.” Director Branagh films the actors often in full body view, as they stride, scurry about or stand at attention.

Branagh, working with Director of Cinematography Haris Zambarloukos (“Belfast,” “Death on the Nile,” “Murder on the Orient Express”) seems heck-bent on using the most unusual and odd camera angles possible and to film above, below and through as many possible walls, windows and stairs on the set. You can overdo Dutch Angles. The effect is distracting.

Branagh seems to be striving for a cinematic motif that recalls the suspense thrillers of Orson Welles, Alfred Hitchcock and Brian De Palma. Branagh is no Orson Welles, Alfred Hitchcock or Brian De Palma. Moreover, other than a couple of jump scares, there are few thrills and there’s little suspense.

The overhead, drone pans of Venice are lovely, as are scenes on the canals, with the gondolas, bridges and backdrops of rustic buildings.

Hildur Guðnadóttir (Oscar recipient, original score, “Joker,” 2020; composer: “Tar,” 2022; “Women Talking,“ 2022) creates an atmospheric score.

“A Haunting In Venice” is turgid, brittle and uninspired film-making with Branagh often placing his face front and center, sideways or at an angle. Each angle is unflattering.

This time, the Hercule Poirot mustache and soul ‘stache are less herculean than in “Death on the Nile” and “Murder on the Orient Express” and don’t seem to intrude on Branagh’s still odd, difficult-to-source accent, which at times seems parodic Peter Sellers circa Inspector Clousseau In the “Pink Panther” film comedies (1963-1978).

That’s one of the downsides of Branagh’s Poirot portrayal. There’s little room for mirth, merriment or ironic twists (other than perhaps Poirot’s mustache), essential elements in the Agatha Christie oeuvre.

With Venice officials weighing an admission charge, “A Haunting in Venice” is worth the price of admission for fans of Agatha Christie and Kenneth Branagh.

“A Haunting in Venice,”

MPAA rated PG-13 (Parents strongly cautioned: Some material may be inappropriate for children under 13.) for some strong violence, disturbing images and thematic elements ; Genre: Crime, Drama, Horror; Run time: 1 hour, 43 minutes. Distributed by 20th Century Studio.

Credit Readers Anonymous:

“A Haunting in Venice” was filmed in Venice, Italy, and Pinewood Studios, England.

At The Movies:

“A Haunting in Venice” was seen in the Dolby Cinema at AMC, which provides a lot of rumble in the seat for the noiser scenes.

Theatrical Motion Picture Domestic Box Office,

Sept. 29 - Oct. 1: “PAW Patrol: The Mighty Movie” padded to No. 1, opening, $23 million in 3,989 theaters, chasing “The Nun II” from its three-week cloister at No. 1, dropping three places to No. 4 with $4.6 million in 2,871 theaters, $76.7 million, four weeks; keeping “Saw X” opening at No. 2 with $18 million in 3,262 theaters; ”The Creator” opening at No. 3 with $14 million in 3,680 theaters, and ”The Blind” opening at No. 5 with $4.1 million for the weekend and $4.9 million since opening Sept. 28 in 1,715 theaters.

6. “A Haunting in Venice” dropped three places, $3.8 million in 2,785 theaters, $31.6 million, three weeks. 7. “Dumb Money” moved up one place, $3.5 million in 2,837 theaters, three weeks, $7.3 million, three weeks. 8. “The Equalizer 3” dropped four places, $2.7 million in 2,184 theaters, $85.9 million, five weeks. 9. “Expend4bles” dropped seven places, $2.4 million in 3,518 theaters, $13.2 million, two weeks. 10. “Barbie” dropped five places, $1.4 million in 1,302 theaters, $633 million, 11 weeks.

Movie box office information from Box Office Mojo as of Oct. 1 is subject to change.

Unreel,

Oct. 6:

“The Exorcist: Believer,”

R: David Gordon Green directs Ellen Burstyn, Jennifer Nettles, Ann Dowd, Leslie Odom Jr., Olivia O’Neill and Lidya Jewett in the Horror film. The sequel to the 1973 classic thriller is about not one, but two 12-year-old girls who are exorcized by not one, but two priests.

“Foe,”

R: Garth Davis directs Saoirse Ronan, Paul Mescal and Aaron Pierre in the Science-Fiction, Thriller. Farmers face an uninvited guest.

“Cat Person,”

No MPAA Rating: Susanna Fogel directs Emilia Jones, Nicholas Braun, Isabella Rossellini, Hope Davis and Michael Gandolfini in Thriller. A college sophomore finds her first date doesn’t live up to all those texts.

Movie opening dates from Internet Movie Database as of Sept. 27 are subject to change.

Three Popcorn Boxes out of Five Popcorn Boxes