Very very predictable, including the post credit scene !!!

i must have seen a different film!!

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

I read Agatha Christie's source novel several times and lost count of how many different versions of the story I watched on film as well as on stage, but one thing is for certain: I will never grow tired of "And then there were None". The very first film-adaptation, released in 1945 already, still stands proud as the best version (and my personal favorite), but this mini-series is the completest version and perhaps also the most accessible one, suitable to introduce the genius of Mrs. Christie to younger audiences! "And then there were None" was produced by the BBC to celebrate the 125th anniversary of Agatha Christie's birth. My sincerest respect to the makers, because they truly took the time and effort to achieve a qualitative and detailed enactment of the story with top-notch casting choices, stunningly accurate filming locations, precise decors, continuous underlying tension an ominous atmosphere throughout. The only real difference with the original story is the nature of the 10 little protagonists of the infamous nursery rhyme! For obvious reasons, the use of words referring to "black people" is unacceptable, but apparently it's nowadays also racist and discriminating to use little Indians! Hence, we're following the elimination of ten little soldier boys here, and they're illustrated via ugly modern art ornaments (???) standing on the dinner table. I guess the rest of the plot is universally known and doesn't need a further summary? Oh heck, just because I love the story: ten people, complete strangers to each other, are heading out towards the minuscule Soldier's Island off the English coast. They were all lured to the island, via a formal invitation or a job offer, by a certain Mr. and Mrs. U.N. Owen (read that out loud) but upon their arrival their host and hostess aren't present. After dinner, the guests are suddenly confronted with a recording in which every single one of them is accused of being responsible for the death of a fellow human being even though they weren't punished for it. Immediately after the recording and the initial panic, the guests are killed one by one in ways that are reminiscent to the "10 Little Soldiers" rhyme. Since they are the only people on the island, the rapidly shrinking group of survivors realize that U.N Owen doesn't exist and that one of them is the murderer. This is probably the longest version of "And then there were None" ever filmed, but you never get the impression that it's tedious. It's slow-paced and atmospheric, with the screenplay digging deeper into the details of the guests' previously committed crimes. The horror fan in me somewhat regrets that the actual murders are either too briefly or even entirely off-screen, but the lack of spectacle is widely compensated by the subtle tension-building and the profound character portraits. The cast is downright fantastic. Admittedly I only knew two names at first (Charles Dance and Sam Neill), but the rest of the cast is experienced and multi-talented as well. I doubt if Mrs. Christie would have approved of the "drunken orgy" sequences that were inserted close to the finale, but apart from that I've never seen a more version more faithful to the source novel. Agatha Christie is more alive than ever, in fact, since writer/director Kenneth Brannagh recently also delivered a brand new version of "Murder on the Orient Express".

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.

Everything was marvelous - acting, casting (except for Blore; actor was magnificent, but Blore has to be somewhat more fat indeed), decoration, costumes...Except, some little, yet crucial details:1) Scotland Yard phase, together with a small footage of Judge killing all others without being detected, can be shown in the end, also without forgetting the letter-and-bottle scenery. Therefore, they could stick to the real ending. Also, for making it a little fancy, the maintenance boat (Narracott) could bring police force to the island after "X" days, as a pre-order by Owens in the beginning. Due to the fact that Narracott was ordered to stop delivering goods after a while will definitely make the police force to search the killer inside the house - as there won't be any U.N. Owen at all, despite the invitation letters. This was missing in the original books also.2) Judge's suicide is really messed up. He has to be found in the alleged/assumed death place of his, which was his bedroom, just like in the real book. Not only the aiming and the distance can be both figured out by policemen easily in this series' version, but also the wine setup was a poor one, considering that no one else had touched that glass other than Wargrave. However, instead, there was a hint given by Emily Brent - one of her knitting wool ball was missing, which could be used for the elastic mechanism for the final suicide of the Judge just like described in the original book edition.3) Addition of "cocaine mayhem", sexual intercourse of Vera and Lombard and enhancing Marston's role were really good additions. "Bear clock - bear attack" and U.N. Owen/A.N. O'Nyme alterations were both nicely done. But Judge was giving the hint in the second episode: He was supposed to be unable to walk or act in quick motion, but in order to preserve the pre-fixed death que, he ran to save Vera's life when she threw herself desperately to the sea in episode 2. He ran. And acted quicker than before for a certain amount of time after that. He couldn't really keep it in low profile perfectly. That put him into Blore's and Lombard's suspect list, actually to the head of that list. He was considered as being able to commit all those crimes, maybe due to such physical action of him in the second episode.4) Making Brent a potential lesbian and child abuser was well thought. However, her being a nurse was a factor that drove Armstrong more crazy as she could be the nurse in his failed famous surgery. Also, if she was in fact an abuser, she didn't confess her true guilt before dying. 5) Letters of each and every "Soldier" had to be shown to other Soldiers at some point in a crime scenery of this magnitude. That was clearly missing. Additionally, Blore has to possess a gun, just like in the original series, in order to make the potential "assumed alive Armstrong - Blore" confrontation more unbalanced in favor of Blore. 6) No diaries were kept by either of the Soldiers. Scotland Yard was supposed to determine the death row by those up to Wargrave's presumed death.7) Unlike the book edition, accordingly cyanide incidents from Marston and Mrs. Rogers were not revealed in the end by the Judge. None of the other murders were explained in an aspect, either. Other than these, everything was perfect. This series is still a masterpiece adaptation, even in spite of these facts. One of the best adaptations from Agatha Christie saga, and furthermore, one of the best of all time.Definitely worth to see..

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.