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A Haunting in Venice review: Branagh’s new Poirot is smooth and sinister

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A Haunting in Venice review: Branagh’s new Poirot is smooth and sinister

For the next eight months, it reminds us, there will be no guilt about spending a perfectly good afternoon shut away indoors watching a murder mystery.

Smooth, sinister and studded with stars, A Haunting in Venice is precisely the kind of feet-up matinee entertainment that has rounded off generations of Sunday roasts, just as its David Suchet and Peter Ustinov predecessors did.

Give us a whodunnit, a super-sleuth, and a carefully arrived-at gotcha and you won’t hear a murmur out of us for a good two hours.

The success of the recent Knives Out series has confirmed that for all our fleeting attention spans and smartphone addictions, an appetite persists for all-star ensembles being put through the wringer by a thickly accented gentleman inquisitor.

This is a rare and satisfying brand of screen justice – like watching an eloquent, dapper locksmith methodically crack open a safe.

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​Branagh and screenwriting foil Michael Green tweak Agatha Christie’s Hallowe’en Party, transplanting it from the English country manor to Venice and blending in elements from one of Christie’s supernatural short stories, The Last Séance.

We’re a decade on from the events of Death on the Nile (that film’s release last year somewhat overshadowed by the casting of Armie Hammer, who has been at the centre of some disturbing abuse allegations).

World War II has been and gone, and Poirot has lost his faith in humanity. Between the murders he has solved, and the atrocities of two European conflicts, he has seen enough to choose a self-imposed exile in Venice.

Ably watched over by bodyguard Vitale (Riccardo Scamarcio) and living with a queue of hopeful clients camped outside his lodgings, Poirot now concerns himself with gardening and local confectionery.

A call from friend and celebrated mystery writer Ariadne Oliver (Tina Fey) is not something he entirely welcomes, but she assures him that he will not be dragged back into solving some murder case. She merely wants him to accompany her to a Hallowe’en party for local orphans at the palazzo of retired opera singer Rowena Drake (Kelly Reilly).

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A former orphanage rumoured to be haunted, Drake’s eerie home was the scene of her daughter Alicia’s tragic demise a year previously. As part of the night’s festivities, she intends to host a private séance conducted by renowned medium Joyce Reynolds (Michelle Yeoh).

Oliver wants Poirot to observe the ceremony and help her debunk it. But the séance turns out to be far hairier than either Poirot or Oliver predicted – and when one of the guests becomes the victim of a grisly murder that night, Poirot rolls up his sleeves, locking everyone in until the killer is revealed.

A likely cast of suspicious houseguests gets his double-winged moustache twitching; Drake’s PTSD-riddled family doctor (Jamie Dornan) and his independent son Leopold (Jude Hill, who, along with Dornan, Branagh reunites from the cast of Belfast); a devout housekeeper (Camille Cottin) who seems emotionally involved with her employers; the is-she/isn’t-she medium and her two assistants (Ali Khan and Emma Laird); and Alicia’s bitter ex-fiancé (Kyle Allen).

But the waters are muddied considerably by a spooky aura lurking in the shadows. The detective famous for his rationale and skills of deduction is seeing and hearing things. Or is he?

Branagh and Green wield a noticeably gothic dread that occasionally breaks out into cricket-bat horror that tests the film’s 12A rating. This is not the insidiously chilling Venice of Nicolas Roeg’s Don’t Look Now. It does, however, milk the city’s labyrinthine, crumbling decadence to good effect, even if some of its old-world exotica can feel rinsed through an Instagram filter.

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Inside the palazzo, meanwhile, lamplight flickers across damp walls and knowing glances. Slightly over-iced the horror cake may be, it does give a by-numbers routine a new gloss, and that is welcome.

Branagh’s Poirot is among the most cartoonish portrayals of the Belgian sleuth, and lovers of Ustinov or Suchet may never take to him fully. Behind the camera, however, he knows just what we Autumn matinee-goers are after. ​

Four stars

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Movie Reviews

Movie review: “The Watchers”

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Movie review: “The Watchers”
“The Watchers” is a horror/thriller movie that is Isha Night Shyamalan’s directorial debut, released in 2024. It is based on the book The Watchers by A.M. Shine. There is a hint of fantastical elements throughout the movie and lore that would have made for a great overall story, but unfortunately,…
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Movie Reviews

Movie Review: ‘Summer Camp’ is an entertaining disappointment

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Movie Review: ‘Summer Camp’ is an entertaining disappointment

Nothing forges a friendship like treating an arrow wound. For Ginny, Mary and Nora, an ill-fated archery lesson and an injured classmate are just the beginning of the lifetime of trouble they’re about to start.

Ginny is a year above the other two, more experienced in both summer camp and girlhood, and takes it upon herself to somewhat forcefully guide her younger friends. Mary cowers in the bathroom away from her bunkmates, spouting medical facts, while Nora hangs back, out of place. When their camp counselor plucks them out of their cabin groups to place them in the new “Sassafras” cabin, they feel like they fit in somewhere for the first time.

50 years later, “Summer Camp” sees the three girls, now women, reunite for the anniversary reunion of the very same camp at which they met. Although they’ve been in touch on-and-off in the preceding decades, this will be the first time the women have seen each other in 15 years.

Between old camp crushes, childhood nemeses and the newer trials of adulthood, the three learn to understand each other, and themselves, in a way that has eluded them the entirety of their friendship.

I really wanted to like “Summer Camp.”

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The opening scene, a glimpse at the girls’ first year together at Camp Pinnacle, does a good job at establishing Ginny, Mary and Nora’s dynamic. It’s sweet, funny and feels true to the experience of many adolescent girls’ friendships.

On top of that, this movie’s star-studded cast and heartwarming concept endeared me to it the moment I saw the trailer. Unfortunately, an enticing trailer is about the most “Summer Camp” has to offer.

As soon as we meet our trio as adults, things start to fall apart. It really feels like the whole movie was made to be cut into a trailer — the music is generic, shots cut abruptly between poses, places and scenes, and at one point two of the three separate shots of each woman exiting Ginny’s tour bus are repeated.

The main character and sometimes narrator, Ginny Moon, is a self-help writer who uses “therapy speak” liberally and preaches a tough-love approach to self improvement. This sometimes works perfectly for the movie’s themes but is often used to thwop the viewer over the head with a mallet labeled “WHAT THE CHARACTERS ARE THINKING” rather than letting us figure it out for ourselves.

There are glimpses of a better script — like when Mary’s husband asks her whether she was actually having fun or just being bullied, presumably by Ginny. This added some depth to her relationship with him, implying he actually does listen to her sometimes, and acknowledged the nagging feeling I’d been getting in the back of my head: “Hey, isn’t Ginny kind of mean?”

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Despite all my annoyance with “Summer Camp,” there were a few things I really liked about it. I’m a lot younger than the main characters of this movie, but there were multiple points where I found myself thinking, “Hey, my aunt talks like that!” or, “Wow, he sounds just like my dad.”

The dynamic of the three main characters felt very true to life, I’ve known and been each of them at one point or another. It felt especially accurate to the relationships of girls and women, and seeing our protagonists reconcile at the end was, for me, genuinely heartwarming.

“Summer Camp” is not a movie I can recommend for quality, but if you’re looking for a lighthearted, somewhat silly romp to help you get into the summer spirit, this one will do just fine.

Other stories by Caroline

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Caroline Julstrom, intern, may be reached at 218-855-5851 or cjulstrom@brainerddispatch.com.

Caroline Julstrom finished her second year at the University of Minnesota in May 2024, and started working as a summer intern for the Brainerd Dispatch in June.

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The Garfield Movie

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The Garfield Movie

⭐️ ⭐️ ⭐️ ( out of 5)

He looks pretty good for being 45 years old and having a solid diet of the four basic food groups: lasagna, lasagna, lasagna, and lasagna. Garfield (Chris Pratt) has graced newspapers, cinemas, toy stores and has been a window ornament in cars worldwide. As one of the world’s most recognised cats, it is no wonder that he would get a new animated franchise to honour his four decades of lounging around in our lives.

This unlikely adventure takes audiences back to the origins of his life with Odie the beagle and their owner, Jon Arbuckle (Nicholas Hoult). As he does all he can to avoid Mondays and any form of exercise and finds new levels of leisure, the orange cat is suddenly confronted by his past as he is reintroduced to his long-lost father, Vic (Samuel L. Jackson). Their sudden family reunion is tainted by the unexpected need for his father to rectify a wrong with one of his former feline friends, the Persian cat – Vinx (Hannah Waddingham). The two cats and a friendly beagle must reacquaint themselves with one another as they work with Odie to fulfil the order from the criminal kitty who needs them to deliver a milk order that would rub any cat the wrong way. Along the way, they must befriend a wise bull named Otto (Ving Rhames) to stay ahead of dairy security officer Marge (Cecily Strong) as they hope to achieve their mission and get home to their life of lasagna and leisure.

When reviewing a film about a lazy, pasta-eating cat, one must manage expectations. To expect this to be groundbreaking cinema might be a bit of a stretch. Also, considering that there is little for families to enjoy in cinemas, The Garfield Movie might be the best snack food option for parents for the season. The tone goes from ridiculous to sentimental and back to farcical as if the source material is based on a classic cartoon, which, of course, it is. A consideration as you continue with this review and realise that the film will do exactly what it is meant to do, entertain families with the fun, ridiculous actions of the cat with little motivation to do much with his life except eat his favourite Italian food and spend time with his owner. Chris Pratt and the rest of the cast come along for the ride to complement this tale of friendship, family and food.

What should parents know about The Garfield Movie? Suppose your children loved the antics of the Super Mario Brothers or liked the humour delivered by the Minions. In that case, this film will provide laughs and a hankering for Italian food afterwards. Most of the laughs for parents will fly over the heads of the little ones and will provide something for the adults in the audience. There is little to object to outside the gluttonous tendencies of this legendary cat. The discussion opportunities after the film include the three Fs of family, friendship and forgiveness.

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