Matialth Good concept, poorly executed.

Konterr Brilliant and touching

Lidia Draper Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

Darin One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

tvsitcoms I feel so disappointed with Poirot being a murderer that I cannot aprove this episode. Jamais, mes amis, would Poirot take justice into his hands. I do not find this to be according to his character. And he commits suicide after? But then I realized it was Agatha Christie's decision. And has the story sinks in - I just saw it for the 1st time - I start to gradually be more acceptable towards it all. A killer that never actually kills but is most deadly effective... Police could not legally have done a thing to stop him.Yet, Poirot's little gray cells should have provide him with much better ways to have the evil man rightfully punished without resourcing himself to murder! A DUEL OF MINDS... Poirot could have led the other into an act his true character would be exposed or play with him until he harms no one but himself. That way the death would be by the killer's won hands, not by Poirot's! But that was not Agatha's choice. Being able to write this much adventures for one character must have been very challenging. It was time to Poirot to retire... in a big Bang.I guess that is exactly what happen.Production wise, this episode is as perfect has every previous one. This is one of the most agreeable detective period series ever being made. Lovable scenery, wardrobe, locations, colors, traditions reconstitution... There's a delightful parallel were the audience finds a very old Poirot in a wheelchair, not able to walk and very sick. But the mansion he gets in is has bad has he is. The settings are according to the end of it all. Winter time, rain, huge old mansion, greyish, empty, decrepit... Beauty has seen better days around there. Yet somehow that place still has the ability to take your breath away. You start to wonder what to be that old must be like. To the little gray cells...And that is why I conclude Poirot becoming a murderer just maybe justifiable. That much older and sick I do not know what it feels like. Maybe its plausible. A big part of me still finds it out of character and I'm guessing a religious person has he was would not enjoy opening the way to the «other side» with a fresh murder followed by his own suicide.Plot wise, Agatha's story feels less real because it seems to me people would not be so naive towards such manipulation of their minds, since some where quite suspicious. The way old Poirot ends up drugging a person is also very easy. I was enjoying watching Poirot again.

youAreCrazyDude 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.

kckidjoseph-1 "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.

Aidan Meyler 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!