However much one might fancy Kenneth Branagh’s Hercule Poirot and the trilogy of mystery movies he has been at the helm of, one cannot deny that they are all three unique. Each brings its own set of goods to the table, wielding picturesque landscapes, star-studded casts of characters, and, most importantly, engrossing murder plots. “A Haunting in Venice,” the newest Poirot outing, released less than two years after “Death on the Nile,” has opened to franchise-best reception. It boasts a 75% critics’ score on Rotten Tomatoes, a 6.8/10 on IMDb, and a 3.1/5 on Letterboxd, all higher than its two predecessors. And justifiably so. Whereas “Murder on the Orient Express” homed in on an intimate a
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