Unfortunately, Ken Branaugh's latest Christie adaptation (like his previous Murder on the Orient Express) follows the current trend of using the brand recognition of exemplary icons (Christie, Tolkien, Roddenberry, etc.) to create dumbed down drivel stripped of its original intelligence, humanity, complexity and nuance and instead padded full of
1) tired regressive one dimensional sex stereotypes (women = slight and sexy and men = buff and violent) and 2) preachy political propaganda that is 3) made to appeal to the lowest common denominator in order to make the most money.
There ought to be a law preventing people from rebranding Agatha Christie's name or her characters with these all-spectable-no-substance adaptations that pervert the art of the world's best selling author and diminish her estimable legacy in the hearts and minds of new generations. Christie must be turning over in her grave.
Thank goodness for David Suchet, who used his clout and own incredible talent to insist on bringing Christie's authentic Poirot stories to audiences in all their brilliance. To the discerning viewer, those who are writing and directing these recent adaptations for profit at the expense of her art are a cringeworthy embarrassment to her canon of incomparable work.
1) tired regressive one dimensional sex stereotypes (women = slight and sexy and men = buff and violent) and 2) preachy political propaganda that is 3) made to appeal to the lowest common denominator in order to make the most money.
There ought to be a law preventing people from rebranding Agatha Christie's name or her characters with these all-spectable-no-substance adaptations that pervert the art of the world's best selling author and diminish her estimable legacy in the hearts and minds of new generations. Christie must be turning over in her grave.
Thank goodness for David Suchet, who used his clout and own incredible talent to insist on bringing Christie's authentic Poirot stories to audiences in all their brilliance. To the discerning viewer, those who are writing and directing these recent adaptations for profit at the expense of her art are a cringeworthy embarrassment to her canon of incomparable work.