In Acapulco, Hercule Poirot attends a dinner party in which one of the guests clutches his throat and suddenly dies. The causes seem to be natural until another party with most of the same guests produces another corpse.
Emily Boynton, step-mother to the three Boynton children and mother to Ginevra, blackmails the family lawyer, Jefferson Cope, into destroying a second will of her late husband which would ... See full summary »
When Mark Easterbrook is accused of murdering a priest, he sets out to prove his innocence. In the process, he discovers a series of deaths, seemingly from natural causes, that may also be ... See full summary »
In this TV movie, a classic mystery is updated and relocated to a glamorous world of London socialites and secret agents, introducing two unique and compelling investigators and taking us through to the highest corridors of power.
Oliver Ford Davies,
An American movie actress, best known for playing dumb blondes, is Scotland Yard's prime suspect when her husband, Lord Edgware, is murdered. The great detective, Hercule Poirot, digs deeper into the case.
When Guillaume has the bizarre idea of inviting his ex-wife Aude to a family reunion at the luxurious coastal estate of his wealthy Aunt Camilla, his tempestuous new wife Caroline becomes ... See full summary »
Agatha Christie's classic whodunit speeds into the twenty-first century. World-famous sleuth Hercule Poirot has just finished a case in Istanbul and is returning home to London onboard the luxurious Orient Express. But, the train comes to a sudden halt when a rock slide blocks the tracks ahead. And all the thrills of riding the famous train come to a halt when a man discovered dead in his compartment, stabbed nine times. The train is stranded. No one has gotten on or gotten off. That can only mean one thing: the killer is onboard, and it is up to Hercule Poirot to find him. Written by
While Poirot is examining Ratchett's body for the second time, Ratchett is still breathing. See more »
oh, forgive me. My mind was temporarily elsewhere.
It's a woman, isn't it?
We are such opposites, Vera and I. She's flamboyant and beautiful; I'm reserved and homely. She'a a thief; I'm a detective.
The only thing we have in common is the refusal to let the other rule oor life... but I cannot stop her from ruling my thoughts.
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This is a made for TV movie. Made for TV movies rarely match up to made for cinema movies. But yes, see it - if you've seen the Lumet original that is. It's better than nothing and the story is of course great.
About the story: actually it's better if you see the Lumet version first (and even read the book) because it's an amazing story and because you'll find the screenwriters for this version have done the unforgivable again.
The acting's OK, the direction is basically OK too (although there are some scenes that just die) but above and beyond anything else it's the screenplay which sends this one to the skip.
Why do these people take a winning formula and think they can make a classic like this better? The original had poetry. There was symmetry and symbolism which gave the audience warmth. This insensitive screenwriter seems to not have understood the small masterpiece he was commissioned to update.
For that matter, why remake it at all? Dare we speculate? Someone's nephew wanted a chance at screen writing? Someone with clout in a studio decided to back this one?
It's not all negative. There are good moments too. And unlike others here, we thought Molina was good.
But you don't go corrupting a winning formula. See it - but only after you've seen the Lumet original (and preferably read the book). Only then will any enjoyment be guaranteed.
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