What better place for Poirot to comfortably retire in 1947 than Italy in the midst of its post-fascist reckoning and before the economic recovery brought about by the Marshall Plan? A HAUNTING IN VENICE showcases more technical competence than Branagh’s previous DEATH ON THE NILE (at least this one was filmed at least partly on location) but it’s similarly dramatically inert and sluggish without even the extravagant silliness that made NILE at least worth sitting through. As ever, Branagh prefers the vibe of Poirot to any actual rigour or method and so very little tangible evidence makes it through to the accusing parlour scene.