This is a gleaming new housing development in the Californian desert, with state-of-the-art homes for families and upscale professional couples there are retail stores and a swish country club for tennis and swimming. The setting is 1950s suburbia, or some disturbingly fabricated alt-reality version of 1950s suburbia, a glitchless picture-perfect place for a satire on conformity and patriarchy. It spoils its own ending simply by unveiling it, and in so doing shows that serious script work needed to be done on filling in the plot-holes and problems in a fantastically silly twist-reveal. Directed by Olivia Wilde, it superciliously pinches ideas from other films without quite understanding how and why they worked in the first place. Unfortunately, that reason is part of a larger wonkiness and unconvincingness in this handsomely designed but hammily acted, laborious and derivative mystery chiller. It was the case that drove Vitale to retire as a cop, and attending the séance would have provided him with some closure - he would have learned who murdered Alicia, as he was haunted by the unresolved case.First things first: it was unfair of everyone on Twitter to mock Harry Styles – on the basis of a single out-of-context online clip – for his wonky and unconvincing transatlantic accent in this film. But while Ariadne wanted to use the séance as the plot of her next novel, Vitale agreed to work with her because he wanted to have closure regarding Alicia Drake’s death.

Vitale was the only one the detective trusted at the time he and Ariadne made a deal. Ariadne and Vitale worked together, so the former could write a story based on the séance including Poirot in the story would certainly sell her book, and Ariadne thought him antisocial and egotistical enough to not feel bad about lying to him. She was a mystery writer whose last three books were flops. Ariadne, knowing that death seemed to follow Poirot everywhere, wanted to profit from his presence. He also decides to come out of retirement, taking on a new case.Īriadne Oliver was a writer and old friend of Poirot’s, but she and the detective’s bodyguard, Vitale Portfoglio, were in cahoots with each other. Hercule Poirot leaves the house, absolving Vitale and Ariadne of their roles. After solving the crime, Rowena attempted to escape, but was seemingly pushed over the balcony by the ghost of Alicia. Leslie Ferrier’s son, pushing him to die by suicide to protect Leonard. Rowena also killed Joyce and threatened Dr.

Rowena made it look as though the spirits, and “the children’s vendetta” specifically, drove Alicia over the balcony. Rowena found Alicia dead, and decided to throw her into the river to make it look like a suicide so that she wouldn’t be implicated in her death. Unknowing of its effects, Rowena’s housekeeper Olga Seminoff gave Alicia several spoonfuls of the “mad honey,” believing it would soothe her, but it stopped her heart instead. Poirot, who was invited to the séance to debunk Joyce Reynolds’ work as a medium, figures out that Rowena had been poisoning her daughter Alicia with the honey from rhododendron flowers, which were hallucinogenic when bees fed on its pollen. Directed by Kenneth Branagh, who returns to the role of Hercule Poirot for the third time, A Haunting in Venice confirms Rowena Drake’s role in all three murders. A Haunting in Venice ’s ending reveals the killer’s identity and motives.

Dont worry darling ending