A dramatic shift, from glossy whodunnit to gothic horror, goes only so far in remedying the frustrating dreariness of Kenneth Branagh’s vision for big screen adventures with Hercule Poirot. A Haunting in Venice is a more interesting film than Branagh’s previous two, certainly, but still feels leaden. It’s another severe and somber affair, with little of the campy thrill at the heart of Agatha Christie’s best mysteries. A less starry ensemble ought allow for stronger character performances but does not. Haunting’s a fine looking film but never comes to life, even as the death count ramps up.
Now then, who remembers The Nun? Not the character, per se, but the film. The Corin Hardy directed Conjuring spin off that proved a box office phenomenon in 2018. The one about the satanic sister with a bad habit for homicide. No? No church bells ringing? Don’t worry, you’re not alone. Indeed, so convinced are the makers of the film’s long time coming sequel that nobody remembers The Nun that a whole scene in part two is devoted to an abridged retelling. Just one of many dreadfully dull vignettes in a slog full of them. While a whole new team were assembled for this one, the woes are unchanged. Maybe it’s time to recognise that Valak, for all Bonnie Aarons’ snarling efforts, simply cannot sustain a story of her own.
A critique often levelled at Nia Vardalos’ Big Fat Greek Wedding films is that each, thus far, has played largely as might a protracted sitcom episode. There’s irony there. After all, the actual sitcom spun from 2002’s original sleeper hit proved a stonking miss. Fans slept on that one. Kirk Jones’ ‘long awaited’ 2016 sequel proved more successful and now here comes a third. It’s a more of the same offering from Vardalos, who directs in addition to writing and producing for the first time, and is best related to the movies often born of sitcom origins. Yes, My Big Fat Greek Wedding 3 is a holiday romp. Run out of ideas? Send your popular characters elsewhere in the world. The formula is tried, tired, and tested. It is some not inconsiderable mercy that Vardalos’ returning cast remain so fundamentally likeable.
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