I have already seen the first three pictures directed by René Clair, Peter Collinson and Georges Pollock and this one is for me the very best of them all. The closest to Agatha Christie's novel. I admit that a TV series frame is best to describe in depth the characters, the script has more "room" to fully paint the inner characters...Yes, I highly enjoyed this mini series and the actors are excellent. Thrilling, exciting, riveting, I can't find more words to tell you how much I appreciate this piece of work. I don't think there will be one more picture from Agatha Christie's masterpiece. And I even don't speak of other movies with the nearly scheme which have been made all over the years. They are countless...

I really liked this rendition of the book. It has already been filmed before, but that one is completely redone from the book (it became a new story altogether) and I did not like that at all. This one, on the other hand, is true to the book. It is also so fast paced it never got boring This in particular I'm really happy about, because this isn't a story that would handle that well. The story itself is probably one of my favorites (thanks Agatha Christie!) and I've wanted a decently filmed version like this one since I first read the book several years ago. I am so so happy with this mini-series and I definitely recommend it to anyone with this kind of taste in stories!

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.

Quite simply this is the best adaptation of a work by Agatha Christie that I have ever seen. Even with knowing the story, the mood, creeping dread and top notch cast make this a perfect production. Part Gothic horror, part mystery and brain teaser, it will serve as a model for cinema adaptations of future work. Well done! From the opening credits to the brilliance of the flashbacks, this is a work that achieves what the author set out to do initially in the novel and then some. In some ways, the Flashbacks, far from answering questions, force us to constantly ask ourselves what exactly we are seeing. All is made clear in the final hour and it is quite startling. In some ways, it is an example of film technique improving upon the written word.