In all my reviews written for Agatha Christie adaptations, I almost feel obliged to start with a disclaimer. A sort of warning to potential readers that my writings probably aren't going to be very objective. So sorry, I'm deeply biased because I absolutely love this woman and everything she ever penned down. Simultaneously, I'm also a massive admirer of the big-budgeted, flamboyant films adaptations with all-star casts.
And yet, I'm also honest enough to admit that the formula is becoming somewhat derivative after four successful long-feature films ("Murder on the Orient Express" in 1974, "Death on the Nile" in 1978, "The Mirror Cracked" in 1980, and "Evil under the Sun" in 1982). The set-up also more belonged to the 70s and early 80s, according to me, and by the time "Appointment with Death" got released in 1988, grotesque period-piece murder mysteries didn't appeal to contemporary audiences anymore. It's still a very enjoyable whodunit, though, and all the delightful Agatha Christie trademarks are well represented. "Appointment with Death" again features a sizeable cast of characters, of which each and every single one is eccentric, and all have the motives to be a murderer. Hercule Poirot, always "coincidentally" at the exact right place at the exact right moment to eavesdrop, volunteers to resolve the murder of a dominant matriarch (and former prison warden!) who cheated her entire stepfamily out of the testament of her husband.
The script, adapted by director Michael Winner and none other than Anthony Shaffer ("The Wicker Man"), greatly benefices from the authentic Israeli filming locations and late 30s set-pieces and costumes. The cast features some phenomenal names, and particularly the ladies (Lauren Bacall, Piper Laurie, Carrie Fisher, Hayley Mills, ...) leave the biggest impression. What's missing here, sadly, is some necessary suspense and the impression that we, as viewers, are invited to guess along for the identity of the culprit. Poirot makes it pretty clear that he immediately knows who the killer is, so it's largely just awaiting his famous wisdom-speech in front of the ensemble cast.
And yet, I'm also honest enough to admit that the formula is becoming somewhat derivative after four successful long-feature films ("Murder on the Orient Express" in 1974, "Death on the Nile" in 1978, "The Mirror Cracked" in 1980, and "Evil under the Sun" in 1982). The set-up also more belonged to the 70s and early 80s, according to me, and by the time "Appointment with Death" got released in 1988, grotesque period-piece murder mysteries didn't appeal to contemporary audiences anymore. It's still a very enjoyable whodunit, though, and all the delightful Agatha Christie trademarks are well represented. "Appointment with Death" again features a sizeable cast of characters, of which each and every single one is eccentric, and all have the motives to be a murderer. Hercule Poirot, always "coincidentally" at the exact right place at the exact right moment to eavesdrop, volunteers to resolve the murder of a dominant matriarch (and former prison warden!) who cheated her entire stepfamily out of the testament of her husband.
The script, adapted by director Michael Winner and none other than Anthony Shaffer ("The Wicker Man"), greatly benefices from the authentic Israeli filming locations and late 30s set-pieces and costumes. The cast features some phenomenal names, and particularly the ladies (Lauren Bacall, Piper Laurie, Carrie Fisher, Hayley Mills, ...) leave the biggest impression. What's missing here, sadly, is some necessary suspense and the impression that we, as viewers, are invited to guess along for the identity of the culprit. Poirot makes it pretty clear that he immediately knows who the killer is, so it's largely just awaiting his famous wisdom-speech in front of the ensemble cast.