ChicDragon It's a mild crowd pleaser for people who are exhausted by blockbusters.

Sameer Callahan It really made me laugh, but for some moments I was tearing up because I could relate so much.

Keira Brennan The movie is made so realistic it has a lot of that WoW feeling at the right moments and never tooo over the top. the suspense is done so well and the emotion is felt. Very well put together with the music and all.

Brennan Camacho Mostly, the movie is committed to the value of a good time.

Myriam Nys Unusually vivid and red-blooded adaptation of one of Agatha Christie's most iconic books.There are a number of small discrepancies between series and book : some of these discrepancies are fully justified, such as a removal of the original (and deeply racist) title, while other seem arbitrary or just silly. However, as a whole the adaptation is remarkably faithful to Christie's work, especially when it comes to honoring the ambition, originality and precision of the plot. Christie's book was an intellectual "tour de force" and the series fully honors and highlights this fact.The series also understands that showing is better than telling, wisely avoiding the pitfalls of "people telling stories or anecdotes while other people sit and listen".Moreover, the series - and this is truly refreshing - does not shy away from showing the violence inherent in the book. It's a breath of fresh air, after o so many Christie adaptations where even the most violent of crimes or the most devastating of tragedies are swathed in yards of calico. It's nice to possess a sense of reserve or delicacy, but what's the use of staging works which consist solely of old ladies drinking tepid tea and chattering about Unfortunate Events ? Good direction, good acting, good locations, good costumes and - of course ! - an excellent plot : go and watch "And there were none".

Bene Cumb Agatha Christie is a certain token, she is still popular, but that has also brought along lots of bad imitations. We have seen Poirots and Marples of different looks and ages, speaking different languages and acting in environments vaguely resembling the real Christie... But in the series in question there is no "fixed" detective at all (atypical to Christie); thus there is a real need that all characters should be equally important and distinct. In my opinion, Phelps/Viveiros have captured the roots artfully (mood, flashbacks, suspense), and the selection of performers is excellent as well - all are up to their task, in spite of their age and experience, there is no such thing that more famous actors' characters last up to the end, etc. And again, I did not guess who the murderer was (I can't reading the book or seeing other versions of it); although, wise after the event, I could have. So, in any angle, a great miniseries, to them fond of British style and "old-school" relations, communication and outfit.

Morris Ma It is never easy to transform Agatha's work to a film or video. "And then there were none" is the best among all of them, at least in my opinion. It is also the top 3 best crime novel of all time. Hence it makes even harder to put it on screen. It is coincident that I am re-reading the book while I walked into this series. So I would be able to make a parallel comparison. Fair enough to say that this series retain all the main stories of characters. In details there are some modification. For a reader of the book, it is a little bit strange while watching something that are not what it supposed to be exactly. As always, the pace of the development is quite slow in general. Maybe the director wants to create an atmosphere, but doesn't work for me. If they make it into 2 episodes, maybe it would be better.

Jim Longo And Then There Were None is one of my favorite novels of any genre, and was one of the first "grown-up" books I read as a kid. There have been many adaptations of it for the screen, from the solid but unspectacular 1945 black and white to the occasionally too- faithful Russian version to the absolutely dreadful 80s African safari. This, in my opinion, outshines all of them, remaining more or less faithful to the story and taking elements from the previous versions and using them to far better overall effect.The visuals are breathtaking; camera angles are brilliantly used (I particularly liked the scene of Mrs. Rogers throwing the leftover lobster carcasses over the side of a cliff), and the lighting and soundtrack give the whole production a disquieting, eerie feel to it that enhances the overall experience.The performances of the ten leads are one and all superb, particularly Anna Maxwell Martin as Mrs. Rogers, Charles Dance as Wargrave, and Toby Stephens as Armstrong. Notable among the "background players" are Rob Heaps as Hugo Hamilton and Paul Chahidi as Mister Owen's agent, Isaac Morris.And then there's the script...For the most part, Sarah Phelps' script is superb; more than any of the others, it gives the actors the most to work with in portraying the increasing mental stress and terror the characters are feeling. The cocaine party scene has become the most controversial in the production, but I feel that it works well, as the simmering tension among the characters finally explodes. Little touches here and there work very effectively, such as the role-reversal in Vera slapping an hysterical Armstrong after Rogers' murder. The antagonism between Lombard and Blore is the best I've seen in any of the adaptations, because there's a complexity to it that other adaptations lack.But if I do have nitpicks, it's that, like her predecessors, Phelps changes some of the material in ways that question whether she truly thought through those changes--specifically, the crimes which have earned each of the characters a place on the island, and the degrees of severity of those crimes which dictate the order in which the prisoners are to be executed.The biggest example is Blore's crime; instead of perjuring himself and sending an innocent man to prison, here Blore beats a young gay man to death. In the 21st century Western world, that's horrible. But as late as the 1990s, judges in the United States were jokingly asking if violence against gay men "was a crime now"; would a Victorian mind such as Mr. Owen's really view killing a "sodomite" worse than smothering an elderly woman, abandoning a servant girl, hanging an innocent man, or performing surgery drunk?All in all, however, this is a brilliantly made film, and one I intend to watch again and again for the sheer thrill of it.