From my favorite movies..

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

A clunky actioner with a handful of cool moments.

Amazing worth wacthing. So good. Biased but well made with many good points.

One has to be a brainless fan of Cristie and Poirot(in either the books or series who are somewhat different) to enjoy this episode.Episode is a faithful adaptation of the book in main story points, skillfully fitted to character of Poirot, with his blinkered morality, as developed in later 'darker' episodes of the series.From moral point of view, lousy logic used by Poirot to justify his murdering, and absolving of other murderers who have freely chosen to commit crimes, testify to either severe deterioration of his much referenced 'little grey cells', or Cristie's ironic revenge after developing a strong dislike for her character's smug pseudo rationality. Adapters did point to rather hypocritical moral compass of Poirot in several of the later episodes, such as 'The Clocks'. However they never seem to have the courage to carry it through to the end in any of them, and always dropped the ball before exposing the absurdity of Poirot's moral pontificating. They succeeded better when there is a distance between Poirot and characters going through a murder induced moral crisis, as in 'The Murder on the Orient Express'.Here too adapters fail to challenge Poirot's irrational murder. Nor do they leave the story at the superficial moral level Cristie displays in books. Unlike her, they raise the moral issues explicitly and seriously, but instead of confronting them in their complexity, they let Poirot getaway with absurdity.By the way, adapters in later part of series tried to imply that Poirot's blinkered morality is due to his pious Catholicism. However some of his moral positions do not fit with the Catholic teachings. If he is confused it due to his brain being confused.Actors were good in the episode, but unlike in almost all episodes in series, up to but not including final season, production design was bad.

Poirot use to be brilliant. I used to love Poirot. Most recent and latest episodes though feel as if author was on dope and her brain was completely gone, or someone else was writing instead of her. Absurd episodes. This is opinion as if I were Poirot and had to guess what happened to what used to be a brilliant show, but now is completely nonsensical and ran into the ground mush. What is funny that this Review Process is behaving like latest Poirot shows. That is, it demands that I write at least 10 lines. So, I am trying to "water it down", my review, Mon Ami. Just like Poirot was watered-down with nonsensical lines, actions, and other stuff, just to make the show fit into required time length, I presume, Mon Ami.

"Agatha Christie's Poirot: Curtain: Poirot's Last Case" is so dark that its star, David Suchet, insisted it be shot out of sequence so that it would not be the last image of the role that he and fellow cast members would have. Yes, it's that dark and sometimes, disturbing. The great irony is that, in reality, it was shot just before Christmas. But you won't find any bright tinsel or warm carols or peace on earth here. The old-fashioned bright Technicolor colors and tongue-in-cheek humor of the central character, especially with his loyal friend and helpmate, Hastings (Hugh Fraser), so often on display in Suchet's "Poirot" films over the last quarter-century, are nowhere to be found. It soon becomes apparent, as it was in another installment of this last season, "Murder on the Orient Express," that Suchet himself is on a mission to set the record straight for his beloved character, and especially for Christie herself. In "Curtain," nearly all color has been drained from the pictures. It is a kind of "noir" in which shadows are far more important than splashes of color. And so it is with Suchet's "Poirot" here, and the plot that steals him away for all time. The plot finds an older, infirm Poirot wasting away at a dank old estate, Styles, where Poirot and Hastings have solved their first murder many years before. Hastings, recently widowed, has come to look in on his old friend, Poirot, who by now has a bad ticker and is wheelchair-bound. In the mix is Hastings' daughter (Alice Orr-Ewing), a headstrong and sometimes disrespectful lass who may also be in danger, and perhaps even a suspect, when three people die, apparently by suicide. To say much more would ruin the surprise, but it's clear from the get-go that Poirot will have to rely more than ever before on those "little gray cells" _ and on Hastings. To be sure, Fraser has never been better in the latter role, and again, one senses a deliberate decision to make him an extension of Poirot more than ever before. He has to do the leg work, literally. The finale might upset and even shock faithful "Poirot" fans who have become accustomed to the splashy, whimsical productions of past years. But it's a fascination to watch Suchet, who has read every shred of Christie's "Poirot" writings and become a sort of self-made scholar on the subject, use his full classically trained might in doing what he considers righting the ship before he lets the role go. That alone is worth the price of admission. American viewers will have to do some leg work of their own to see this episode. Masterpiece won't be carrying this finale, at least for now, for whatever reason _ it's to be found instead on the Acorn subscription service that features British dramas. Viewers who take that step also will be treated to a 45-minute question-and-answer featurette from when Suchet appeared in Beverly Hills to promote the series' last season, itself a wonderful tool in understanding and enjoying the entire Suchet-Poirot experience and the perfect companion to the PBS "making of" short about the series. Hats off to Suchet for making a brave decision about a role that took up a good portion of his career, and truth be told, his life.

I loved the storyline and it worked quite well - to a point. The setting, however for me was really mundane and drab. The support cast besides Norton were uninteresting and their characters were not developed at all therefore leaving me with zero empathy for any of them. I would really have loved to have seen Ms Lemon and Jap in the final episode. They were sorely missed. Could they not have extended the episode by ten minutes and covered a memorial at least where we could have seen some emotion from them? Or at least give us, the viewer a chance to say adieu? There was little or no emotion and I actually felt at the end... "meh" I was astounded at how badly Poirot treated Hastings in this final episode! He treated him with the utmost contempt and was unnecessarily cruel towards him. Basically, I thought for a final episode, it missed a great opportunity to let us, the viewer feel saddened by the death of Poirot. Alas, I will miss the old Poirot....not the nasty mouthed bitter old man he turned into. I found myself feeling sorry for Hastings and peeved off with Poirot!