Although not every aspect of the Spiritualism movement and its philosophy is explored in Kenneth Branagh’s film, A Haunting in Venice, there’s a few jolly moments to get your spook on (even though none of it was real according to the merry detective).
It’s easy to jump right into the world of Agatha Christie with the release of A Haunting in Venice last weekend. It’s based on her novel Hallowe’en Party and has the right amount of spooky ridden moments to sate fans of the paranormal. That’s because of where the story takes place, and I wanted to see what Director Kenneth Branagh and writer Michael Green‘s take on it would be like, since it’s all about rationalising what’s going on and saying whether life after death is indeed real.
This author does have an interest in it, but it’s nowhere like how other detective agencies approach the subject. I did not see this movie because it continues Hercule Poirot’s life as a detective on the silver screen. As much as I respect Branagh for remaking and delivering a modern polish to Murder on the Orient Express and Death on the Nile, just how he delivers that product when I have a fondness for the originals is not my cup of tea. Thankfully this one hasn’t been adapted before, and that’s enough reason for me to go see how spooky this filmmaker can deliver the goods.
The formula for what Kat Sandler‘s play, simply titled Yaga, is about may well be like an episode of Twin Peaks for some attendees, but for myself, I’m thinking Murder, She Wrote. But instead of solving mysteries from the perspective of a best-selling author, the point of view is from an omniscient presence needing more than the usual sustenance. Baba Yaga is an infamous Slavic witch known to eat children, but these days, she’s not picky.
Ever since this show’s debut in 2019, various theatre houses have put this play on across Canada. To kickstart Victoria, BC’s The Belfry 2023/24 season and get attendees ready for Halloween, it seems the director Jani Lauzon added an indigenous touch on top. We’re in a birch house to listen to the very beginnings of life. It’s told by a woman shaman (Tracey Nepinak) in a set that I believe was designed to resemble a traditional First Nation longhouse.
In this series, fans sadly won’t see much of the other members of Wednesday Addams clan until absolutely needed.
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Alfred Gough and Miles Miller‘s Wednesday update to what The Addams Family is to a modern generation is perfect for viewers wanting a horror drama similar to the Chilling Adventures of Sabrina. After my interview with Glenn Taranto regarding adapting Charles Addams comic strip to the media, my appreciation for the kooky leans in respecting the source material. As a result, this new takeis appropriate as an Archie Horror Comics product. But as for what I think the franchise creator may like, I’m sure he’d approve of how his characters are still bringing delight to fans today and agree to how his creation needs to change with the times.
I’m enjoying this take too. Unlike the comic strip where her look is regarded as simple and cute, this newest interpretation shows how she’s downright glamorous and deadly. And thankfully, Jenna Ortega is up to the task of delivering a “Shot of Poison,” Lita Ford style. Although she’s not always “Painting it Black,” the red lipstick throws me off and it’s a detail that bugs me. Additionally, even though her life as a miscreant is perfect, she winds up getting expelled from one high school only to eventually become a hero at another institution.