A beautifully paced beginning, with some excellent acting (especially from Anya Taylor-Joy), peters out following the big reveal about the marriage.Given the miniaturist seems to remain unpaid after supplying unsolicited miniatures, I really didn't understand what motivated her. (So it clearly wasn't money. Was it that she was driven, as an artist, to create her works? If so, that needed to be communicated much more clearly.)

I agree with the reviewer below who said that the miniaturist served nothing. If the core of everything is the miniaturist (not the miniatures !), the film could be titled as "the miniaturist"; while the core of the film is the girl Nella! Why isn't it called "Nella and her myserious miniatures" or something like that? I've never read the book, so I'm not saying about the book; Watching the film. when I first saw Nella (who seemed quite center-character like) I thought SHE was the miniaturist (because the title is The Miniaturist) but then oh no the miniaturist is just a mysterious girl served nothing. On the other hand, Nella is strong and not religion-baffled like Marin(though she is sort of a feminist too). The characters are charming, though Johannes is really dumb-like (while Frans is played rather convincingly here).

I started watching the first episode and did not move. It is beautiful. It is light and dark, funny and disturbing. It is worth the time and I will definitely watch it again. The acting was first rate, but the sheer beauty of the lighting and the sets, especially the miniature steals the viewer's attention.

Jessie Burton's 2014 debut novel 'The Miniaturist' does have a good deal to admire. Although some of the characterisation lacks depth (especially Johannes of the main characters), Burton's depiction of the 17th century Amsterdam setting is so attentive to detail that one feels like unseen observers of the action and the atmosphere has a real eeriness and mysteriousness. Its 2017 adaptation does a very respectable job adapting it. There is a lot to admire and there are not a lot of adaptations that manage to be faithful in most detail and the spirit of the source material without being too faithful. 'The Miniaturist' manages this obstacle very well. It is easy to see why it won't click with some viewers. For a BBC period drama (or any kind of television period drama for that matter), it is quite unconventional, the setting is not one seen a lot, it's not adapted from the work of a famous novelist like Charles Dickens or Jane Austen, it's a slow burner and there are a few scenes not for the faintest of hearts. 'The Miniaturist' is not perfect. Telling who is who in the supporting roles is not easy at first, that and that it never quite overcomes the book's characterisation shallowness (Johannes did seem underdeveloped at first, and the supporting roles are fairly sketchy other than how they serve to the story and any important events), are the first half's only real problems for me. Second half is very compelling and quality is extremely high throughout, but not everything felt resolved enough. The miniaturist explanation seemed half-baked, confused and needed more time than it had to explain it properly (flashbacks may have helped perhaps) and a couple of subplots like the sugar one didn't feel tied up enough and still felt hung open by the slightly abrupt end. However, 'The Miniaturist' is hugely successful everywhere else. Visually it is quite an achievement. It's sumptuously shot, atmospherically lit and the period detail is like a puritan era-set/Rembrandt painting come to vivid life. The mix of austere and not-so-austere (with flashes of brighter colours in Nella's costuming) costumes was striking. The doll's house was beautifully designed and suitably mysterious, while the miniatures were exquisitely eerie. Music score was understated yet hypnotic. The dialogue provoked thought and intrigued without letting go. It is very stirring and taut in the trial scene too. Where the 'The Miniaturist' (2017) really succeeds too is in the atmosphere, again advantaged by the source material. The story unfolds in a slow-burner way but the mysteriousness, subtle tension, eeriness and dark dread to me it didn't feel ponderous. The climactic moments are quite powerful, and, even though one wishes they could have gotten to know the characters more, it is hard not to feel that the outcome is an injustice. Direction is atmospheric and draws out uniformly great performances from the cast. In particular Romola Garai, a revelation in a formidable but complex roles. Anya Taylor-Joy enchants and affects as Nella, avoiding making her too passive, while Alex Hassell is brooding and charismatic, particularly telling in the trial scene where Johannes makes a very persuasive case for himself. Hayley Squires is a spirited Cornelia while Geoffrey Streatfield brings authority to Frans, a character that part of you hates.Overall, very well crafted and very admirable. 7.5/10 Bethany Cox