Agatha Christie
Seven Dials’ predictable structure, thin character development, and hollow ending keep it from striking the satisfying note of its strongest predecessors.
A Haunting in Venice is a new direction, going for something more creepily claustrophobic, but doesn’t quite nail the landing.
Death on the Nile is certainly better than his recent films, but it relies too heavily on its director/actor being enamored with his own material.
Clement Tyler Obropta looks back at four BBC Agatha Christie adaptations, all reimagined for the small screen by Sarah Phelps.
Agatha Christie’s The Pale Horse, though not quite a detective story, seems designed to test the genre’s rules, and also my patience.
Though containing some elegant set design and impressive cinematography, Murder on the Orient Express can’t quite intrigue you to the potential that it could’ve, due to underdeveloped characters and an anticlimactic final reveal.
Crooked House was one of Agatha Christie’s best novels- so it’s a treat to finally see this subversive work translated to the big screen.