So good and genius, also the acting is good too and the cinematography also is pretty nice

This has an excellent cast and production values but we gave up twenty minutes because it is so relentlessly grim and dark. Dread prevails, and a non-stop dirge thrums in the background. Very heavy-handed. The old 40's classic version is fun albeit rather dated, but it had wonderful atmosphere & fascination without the sense of dreadful, suicidal depression and nightmarish creepiness hanging over all - as this new version does. I don't think that Agatha Christie would have been pleased. The current taste is for shows to be utterly dark, with an emphasis on dank despair - and this is totally in that vein. If that is what you savor, this may be just your dish. Beware.

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.

This is a long time favorite of mine (I have every version of this tale on DVD). This production does great respect to Christie while giving a new twist on the story.Being a big fan of all things BBC, I expected a high-value production and deep psychological investigation. And this mini delivered! The casting was brilliant and they appropriately removed characters before they could annoy you, as other interpretations did not.I loved how they made a simple tale into a series-serialist program. The production value is very high and as much as Aidan Turner was ticking me off in his attitude, it made sense in how they unfolded this version of the story and that character. A nice twist that made me recoil in the end.I think Mammoth Screen really proves their strength in production and keeps the viewer engaged both visually and in character exposure, however, if you are familiar with the plot, you might find some dialogue "forced to fit". No disrespect to Sarah Phelps - I think it was a masterful interpretation (giving new life to an age old tale). It must be tough to take Christie's work in hand, and I applaud her undertaking a project that has such a die-hard following. And she nailed it, no question. Truly brilliant. But you just might feel a twinge of "what the hell?" if you've read and seen all other interpretations before this. Get over that, though, because this does overcome!I looked forward to this becoming available on DVD because I cannot get live BBC programming, so I pre-ordered on Amazon and from my mailbox to my DVD player was less than 15 minutes. And it was everything I had hoped for, plus some. I've watched it several times now and I appreciate it more every time.To me, this production gives meaning to "reviving and redoing". New twists and new visions while still respecting the original texts.Casting was great! (you already know that) Production value was top notch and the editing and sound mixing was outstanding! With the high-bar that people expect in today's media world, this production will not let any fan of Christie feel slighted.You'll be impressed and you'll enjoy!