User Reviews

I guess this series was made following the success of "Petits meurtres en famille", which is, the best movie version of Hercule Poirot's Christmas I've ever seen. To lead the investigation, instead of Hercule Poirot or Miss Marple, we have here Commissaire Jean Larosière (Antoine Duléry - who I think looks like Robert De Niro) and his subordinate Inspector Lampion (Marius Colucci), who shows a homosexual tendency. In Petits meurtres en famille, Larosière - Lampion remind me of funny detective couple in Les 4 as, where the subordinate shows high respect to his idiot superior; but in this series, Commissaire Larosière is not that stupid anymore and he really does his share in solving the cases. The relation between the 2 is like father - son and each cannot live without the other.

British series based on Agatha Christie books are too faithful and we can see how the characters come alive like how they have been written. This French version is more free in the adaptation and therefore more interesting to watch.

Agatha Christie: The Queen of Crime. Although popularised by TV movies starring Peter Ustinov, and later David Suchet, as the Belgian super-sleuth, Hercule Poirot, her page- turners have been adapted for the silver screen since 1928. This long-standing celebration of her work raises the question: is there anything left to explore?

Transpose British tales of bloody murder amongst decadent elite social circles into the quaint rural landscape of late 1930s France and we realise there is plenty of room left for investigation.

Never would the foreign location in France 2′s Les Petits Meurtres d'Agatha Christie (The Little Murders of Agatha Christie) alienate Christie fans as her work comes back to life in the coastal Calais region – one of many nods to the narrative's culturally British origins, and a tactic favoured by New Wave filmmaker Claude Chabrol. The 1930s setting also delivers nuances of anxiety to an already foreboding atmosphere.

Eccentric Commissaire Larosière (Antoine Duléry), and reluctant apprentice, Inspecteur Lampion (Marius Colucci) replace Christie's iconic sleuths in these re-imagined adaptations while providing the series' greatest quality that separates it from her original work: the womanising Larosière, a relic of the old world, soon discovers that Lampion is gay. Yet, despite homosexuality being a highly taboo subject during the period, Larosière not only accepts it but their unspoken bond blooms into an endearing father-son relationship.

In 2012, the Larosière/Lampion duo sadly came to an unexpected close. However, last year we were introduced to the new unlikely couple, this time set in the Rock'n'Roll 1950s: another womanising detective, Commissaire Laurence (Samuel Labarthe) and meddling reporter, Alice Avril (Blandine Bellavoir).

While this odd-couple's relationship has yet to mature to the same depth as their predecessors, their chemistry is unblemished. Although both highly entertaining, the true hero of this comeback series is Laurence's pin-up secretary, Marlène (Elodie Frenck), an enchanting yet somewhat dim Marilyn Monroe à la Française.

Not only does Les Petits Meurtres d'Agatha Christie successfully navigate the perilous terrain of adapting a celebrated British institution abroad, but it makes for a revitalising experience all while remaining loyal to the genre's conventions. If it somehow makes it across the Channel, it is certainly worth a watch.

The other reviews say it all. I am a longtime Christie fan and love these humorous, clever, modern adaptations. Yes, some artistic liberties have been taken, but all the better to set it apart from other versions. See this link for the complete list of episodes. You'll see that Set 1 only includes 7 of the 29 already produced episodes. Neither does Set 1 contain the first 7 episodes, but skips down the list. I can hardly wait to see what comes next, but it appears that Set 1 is the only version released in the US. S'il vous plaît, hurry with subsequent sets!

Season 2. Wonderful, so funny... The characters are very characteristic, with fun, the inspector is somewhat dog but in a funny way. The journalist a modern woman and the secretary is so suite. Congratulations.

First, for the answer to expectations. Because it is a real smart serie. Preserving the spirit of Agatha Christie, giving a seductive chain of stories and beautiful performances.And proposing an interesting humor and few clever used taboos. Commisaires and women. Cases and wise manner to solve them. Especially, the French flavor gives seduction to each episode. The result - almost fascinating, surrely charming.

This show sets the perfect mood for intrigue, mystery and entertainment.

Agatha Christie's works have inspired many iterations on film, although "the usual suspects" are most often repeated (Death on the Nile, etc.). So, it's not just "new" stories that are presented here, but the crimes are solved by a new set of characters who bring lots of playful dynamic to the mix.

Of the 1950's episodes - while the first two seasons very well establish the era and tone, the series really hits its stride in seasons 3 & 4. With increased confidence, everyone brings more layered nuance to the storytelling.

Overall, the production values are extremely well delivered. A special shout out to set dressers, costume and make-up. And the soundtrack engages with suspense and mischief, and perfectly balances the actors' and editors' comedic timing.

Of the performers, my personal favorite is Elodie Frenck as the divine Marlene. She's sexy, funny, the perfect blend of subtlety and charm, and occasional well-placed gaucherie, making this character irresistibly adorable.

Well cast, the other actors bring dynamic energy to their roles in unique ways.

J'adore!

Agatha Christies Criminal Games is a total delight despite the fact any relation to reality is purely coincidental. How many Police Inspectors have a beautiful, huge private office with a private secretary who bears a passing resemblance to Marilyn Monroe? None in the many other TV series I've seen. (Sorry, I don't know any Police Inspectors personally.)

Basically, this French series adapts Agatha Christies mysteries to fit three characters wholly made up for the series. Thus Piorot, Marple, et. Al. Are replaced by Inspector Swan Laurence (Samuel Labarthe), a rather somber, often insufferable, caricature of a 1950s male chauvinist. If he was the only major character there is no way I would have called the series delightful. Luckily there are two major female characters who give the show its sparkle. First off, Blandine Bellavoir as Alice Avril, a newspaper advice columnist turned reporter, who manages to insinuate herself into every case Laurence is investigating, sometimes by accident, sometimes on purpose. If that challenges reality so does her frequent barging into his office at all times a day, seemingly having free reign at Police Headquarters, something even in France would seem out of bounds to a reporter. But, make no mistake, those scenes and her and Laurence's frequent bickering help make the series endearing. Certainly Ms. Bellavoir performance as Alice Avril is the highlight of the show. Then there's Elodie Frenck as Laurence's secretary, also a caricature, in her case, that of a dumb blonde. Her role got bigger as the series progressed and soon she too became endearing. Both actresses deserve accolades for lifting the series above the norm.

The mysteries are nicely adapted to fit these characters. Though light-hearted, and at times almost a semi-comedy, be warned some of the murder scenes can be gruesome. If you, like me, love mysteries, this series can be addictive.

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Am a lover of detective mysteries and Agatha Christie has been one of my favourite authors for such a long time now, since the age of 11 from reading 'And Then There Were None' and watching the David Suchet adaptation of 'Sad Cypress'. Love her twisty mysteries, rich characterisation, meticulous atmosphere, her intelligent use of prose and ingenious final solutions. Her work has mostly been adapted well, the obvious examples being the best of the Joan Hickson Miss Marple and David Suchet Poirot adaptations.

'Les Petits Meutres D'Agatha Christie' is a French series that adapted loosely Christie's work and is essentially Agatha Christie with a French light comedy twist and a "spoonful of French flair. Following on from the very enjoyable 'Petits Meurtres En Famille', 'Les Petits Meurtres D'Agatha Christie' is a very fascinating and charming series and fresh light-hearted entertainment with intriguing stories. Anybody expecting straight up faithful adaptations may need to watch with caution, as they are loose adaptations and only use her stories as a basic framework, but there is an awful lot to like on its own merits and so it shouldn't be dismissed.

The pacing could have been more consistent perhaps, most of the time it's perfect but there are moments where it could have been tighter and others where it could have slowed down.

Likewise with some of the more comedic elements, sometimes in need of a calming down and more subtlety. The chemistry between Avril and Laurence, and there are more episodes with them than with Larosiere and Campion, didn't seem to gel or settle straight away.

However, all the episodes of 'Les Petits Meurtres D'Agatha Christie' look lovely, especially the lavish period detail and scenery to take your breath away. The vibrant but never over-saturated or garish colours, that could be quite atmospheric, and stylish photography complement beautifully. The music matches the light-hearted and at times very atmospheric tone very well. On the most part, the writing is endearing and does entertain and intrigue. As said, some of it needed to calm down but didn't feel much staleness here. Yet the comedic approach doesn't get in the way of telling a good mystery, and enough of the mysteries are clever and very sophisticated without being over-complicated or far-fetched. Any brutality, and there is actually more of the gruesome factor here than in any of Christie's work, not being overused, abused and gratuitous.

Mostly like the characterisation, with some interesting supporting characters and a well matched and fascinating pairing in Larosiere and Lampion, that settled far quicker than that between Avril and Laurence, who aren't quite as interesting but grew on me. Larosiere is the richer character but Lampion the more endearing and rootable one. The direction is competent throughout and cannot fault the acting, Antoine Dulery and Marius Colucci being the standouts.

On the whole, definitely well worth watching. 7/10 Bethany Cox

Amazing casting and production. Attention to detail is very impressive...and what about the era cars? Wow The interpretation of Agatha Christie's stories is unique with french flair. What a treat to watch .

I have watched several seasons of the second incarnation of Les petits meurtres d'Agatha Christie (or as it is known in the U. S. as: Agatha Christie's Criminal Games). All of the episodes evidently refer back to a specific Agatha Christie mystery (not being very familiar with Agatha Christie, I cannot testify to how faithfully the episodes follow the original mysteries).

The show is situated in France in the late 1950s.

Chief Inspector Laurence (Samuel Labarthe) is a handsome, debonair 1950's male. He drives his beloved sports car to the scene of every crime and interrogation.

Marlene (Elodie Frenck) is the chief inspector's loyal blond secretary, who is gaga over her boss.

And Alice Avril (Blandine Bellavoir) is the red headed crime reporter, a thorn in the chief inspector's side, but useful. Alice is also Marlene's ever loyal and sympathetic friend.

This is a light hearted mystery series, often played as much for laughs as for mystery. The character of Marlene can be especially delightful in several episodes. And an annoyed Alice can often fun to watch. The chief inspector is the weak link of this trio, his pomposity and stubbornness typically played for laughs, but often is just off putting. It doesn't help that it is always the Chief Inspector who solves the murder, thus feeding his self-importance.

For myself, Criminal Games was fun to watch for the first season or two. After that, everything became too predictable. The humor was the same every episode--the inspector is snooty, Marlene is ditsy, and Alice is clever, but nosy and usually gets into trouble. The mysteries themselves are usually puzzling, but tend to be drowned out by the eccentric behavior of everyone--suspects and regular cast members.

To give Criminal Games its due, pretty much every episode does have its amusing moments, which seems to be what producers are most aiming at providing to viewers.

We had a tough time seeing past the clownish, over-acted characters and all of the yelling and the creepiness toward women.

Being huge fans of mysteries and France, it was fun to see the locations though.

We haven't seen any of the newer episodes, so hopefully the characters have calmed down and are wiser and more realistic and thus more interesting. And hopefully the vocabulary stays high-end.

I'm not from France, but I have to say this: What an amazing Tv program! A tv program full of suspens,mystery and humour off course. I honestly like all charachters. Main or secondary. Also I think that this tv program has the advantage that take place back in 50's, so it has the abillity to use spicy and clever humour, which in our time, in the time of political correcteness doesn't exist anymore.

Furthermore, I like the way that script writters prove that people completely different (ostensibly), just like Alice Avril and commisaire Laurence can communicate and cooperate for a noble aim!

In conclusion, we talk about the perfect family comedy!!

For production values (cinematography, directing, acting, casting, etc especially the period settings and wardrobes) this is a top notch series. Absolutely top notch. As for the plots, well... they are based on Christie mysteries - which you either like or not. The characters are over-the-top and the whole thing is done with humor in mind. However, I've begun (after the 3rd episode) to feel that the humor has a certain cruelty behind it which is putting me off. Took me awhile to sense this. For example, the Marlene character - who is a sort of 'dumb blonde' stereotype (and extremely well acted) I'm beginning to see as almost mentally handicapped, and feeling great sympathy and sadness for her, and just can't bring myself to laugh at her, despite the intention of the writers/producers. The Alice character is very, very likeable - which is why Swan's constant derision of her to her face - putting her down in a very crude, unsubtle ways - accentuates his coldness. Of course, his coldness, his male model handsomeness, his creaseless suit is his essence - a caricature of a male chauvinist cop. Again, part of the humor. But I feel bad about myself whenever I find myself laughing at his verbal cruelty to Alice. In his defense, he doesn't deride Marlene, but is extremely patronizing to her. But other reviewers have praised Season 2 ,,, so maybe I'll skip ahead to that season and see if this cruelty is somehow eliminated.

I watched a few episodes with Superintendent Larosière and the young Inspector Lampion, set in the Thirties , and some other episodes featuring Commissaire Swan Laurence and reporter AliceAvril in the Fifties. All of them bring a fresh approach to Agata Christie's stories, a touch of comedy and a glance at the society of the time, but let me say that the earlier episodes are far more intriguing than the later ones. My rating for this series would have been a 8 or even 9 for the Larosière and Lampion duo, but a 6 for Laurence and Avril. This series definitely makes a case for having per-season ratings for TV shows on IMDb.

By which I mean that "Les Petits Meurtres D'Agatha Christie" is really two separate and distinct series in one. But the same basic concept holds throughout: Take Agatha Christie stories and adapt them into French, keeping some of the framework of the original story while adding new characters and elements to a greater or lesser degree. Throw in a soupçon of comedy as well, and voilà! While some Christie fans may balk at such liberties being taken with her work, others (like me) will enjoy the presentation for exactly what it is: a sort of Christie hybrid, done with delightful French humor and élan, that succeeds (mostly) on its own terms.

Each episode is roughly 90 minutes, allowing ample time for both plot and character development, but a noteworthy aspect of these adaptations is that neither of Christie's most famous detective protagonists appears in them. Don't expect Jane Marple or Hercule Poirot to show up, even if they were in the original story - they won't, nor will any sort of French doppelgängers. The creative team instead opted to come up with their own completely original sleuths.

The two incarnations of the show are both set in France, but in different time periods. The first takes place in the 1930's, and the principal regular characters are policemen: Commissaire Jean Larosière, played by Antoine Dulery, and Inspecteur Emile Lampion, played by Marius Colucci. Larosière is somewhat larger than life: passionate about women, food and poetry, with a rather flamboyant and mercurial personality. He is also an excellent and very experienced detective. Lampion, by contrast, is younger, a bit of an introvert, an admirer of his boss but also more modern in his thinking and capable of making his own contributions to the cases. And, he happens to be gay, which is handled well as a character element - it isn't over-emphasized but neither is it ignored, and the perceptions and ramifications of it are portrayed appropriately for the era rather than with a p.c. 21st century sensibility.

Both characters are uniquely conceived and fully fleshed-out creations, and are very engaging. Their relationship evolves as the series progresses, and Dulery and Colucci are really superb in their roles, with Colucci my especial favorite. IMO this first incarnation is much the better portion of the series, though disappointingly it only comprises 11 episodes.

When Dulery and Colucci decided not to continue with the show, the creators did a complete revamp, setting the second incarnation in the late 1950's or early 1960's (it's a bit unclear which). The principal characters are now Commissaire Swan Laurence (who names their kid "Swan"?), played by Samuel Labarthe; his secretary Marlène, played by Elodie Frenck; and reporter Alice Avril, played by Blandine Bellavoir.

These episodes - there are 27 in all - do not work quite as well as the first set IMO. The premise is awkward: it requires that Avril, who works for the newspaper La Voix Du Nord ("The Voice Of the North"), be somehow centrally involved in each case that Laurence investigates. This is problematic because Laurence hates Avril's guts and doesn't want her around. And so they wind up conducting separate inquiries (Laurence officially, Avril surreptitiously) and occasionally trading information, which creates a split focus that often dissipates the forward momentum of the plot. The banter between the two characters can get excessively mean-spirited at times, and their one-note oil-and-water relationship becomes tiresome. Avril's availability to take on ongoing "undercover" jobs at the drop of a hat, despite apparently having a full-time position at her newspaper, is a gimmick which stretches credibility. The cases themselves are not as absorbing as the Larosière/Lampion stories, and the motivations and logic behind the crimes are not as well thought out. The later episodes also tend to emphasize comedy over mystery and to give more weight to the personal lives of the regular characters, to the overall detriment of the show.

The actors cannot be faulted though. Elodie Frenck is wonderful as the sweet-natured Marlène, with her Marilyn Monroe-esque platinum coif and red lipstick - she is a scene stealer. Samuel Labarthe is terrific as the misanthropic and misogynistic Laurence: he really commits to the character's arrogance and doesn't try to make him likable, but he still manages to give him a great deal of nuance and depth, and I actually find him very funny as well (I was not at all familiar with Labarthe's work but I am now a bona-fide fan). Blandine Bellavoir is also an excellent actress, but here she is saddled with playing an often-annoying character who never quite feels organic to the show (it strikes me that Avril could be removed from many of these plots and with a minimal re-shuffling of elements, the stories would be tighter). Dominique Tricard and Cyril Gueï are fun to watch in their small but colorful recurring roles of police superintendent and medical examiner, and late casting addition Marie Berto as Officer Arlette Carmouille is also a plus - too bad she shows up just as the series is heading into its final episodes.

It must be said that the production values in both of these incarnations cannot be faulted - the show looks absolutely stunning, with exquisitely detailed set decoration and costumes (and cars!), all captured in style by the gorgeous photography. Stephane Moucha's music, including the memorable title theme, is outstanding. The humor in the writing, of which there is quite a bit, is also very enjoyable, and the overall direction is top-notch. I give the series a 9 star rating, but that is really for the Larosière/Lampion episodes, which I think are first-rate. The Laurence/Avril episodes are more around a 7 star rating, I'd say - but still, I'd recommend the show as a whole. And in fact, a new third incarnation, set in the 1970's, has begun being filmed. It has not aired in the US yet, but I will be very curious to check it out.

Despite a promising first episode with some nice French flavour, it went sour on me after that. Although the relationship between the two main cops started off nicely and with authentic, it veered off in the next episodes into a weird mix of yelling, disrespectful behaviour and totally craziness that just didn't fit this show. Despite some great period details like the cars, certain costumes and certain 'types', far too many modern bits were present and spoiled the look and feel overall. There was, too often, far too much silliness, farce and scenarios that were more suited to pantomime or Jerry Lewis-type films. I enjoy subtle and seamless wit and humour like in the excellent Poirot/Suchet productions of Christie's stories, but these just went over-the-top. It's candy for the eyes and senses, but the characters overwhelming music and unbelievable things that occurred just don't do this writer justice. Agatha Christie's stories are for thinkers but this series appeals more to those who like physical 'comedy' more than real crime stories. A shame really, as there is wasted talent here and high production value but little of real substance or depth, especially of the characters, who became evermore schizophrenic.