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BankofMarquis (1832 KP) rated See how they run (2022) in Movies
Dec 8, 2022
Despite a miscast Sam Rockwell - it works well...enough
The British Comedy/Murder Mystery SEE HOW THEY RUN came and went in movie theaters (at least in the U.S.) pretty quickly last fall and, consequently, most folks missed that this was even a thing.
The good news is that it is now streaming on multiple streaming services so as people gather for the Holidays there is a fun, family friendly (but good for adults) film that young and old alike could gather around the TV to watch together.
Written by Mark Chappell and Directed by Tom George (both of whom who have quite a few BBC TV Series under their belts, but it looks like this is the Major Motion Picture debut for them both), SEE HOW THEY RUN is a comedic look at the British Murder Mystery with a frumpy detective, a victim who “deserved it” and a plethora of potential suspects who are all brought into a room by the Detective on a “dark and stormy” night to reveal “whodunnit”.
Normally, with these types of films, it comes down to the casting and while there are some very good - and fun - actors in many of the roles, one of the roles is terribly miscast and that brings down the quality of this film quite a bit.
So, let’s start with what works - the central murder mystery is clever…enough…(for this sort of thing) and is wonderfully constructed around the London Stage debut of the long-running Agatha Christie murder mystery play THE MOUSETRAP in the 1950’s and, thus, this film is a period piece and that atmosphere adds - in a positive way - to the look and feel of this movie.
Saoirse Ronan, as always, is very good as the young Policewoman who is brought in to aide the main detective and proves out to be quite the Detective herself. She really holds this film together tightly in the middle. Adrien Brody, Ruth Wilson, David Oyelowo and Harris Dickinson all bring something to the film in their characters (and suspects) that add color and life to the central mystery.
Unfortunately, the usually good Sam Rockwell is miscast as the lead sleuth on this case. His frumpy, disheveled Detective was reminiscent of Columbo and just didn’t fit in this British Murder Mystery. While this performance is not a distraction to this film, it doesn’t elevate or lift this movie either, and - in a murder mystery - the detective solving the mystery is a major cog in the movie machine and this cog just isn’t that interesting.
Rockwell is not helped by a green Director and Writer who are looking to make the leap from television to film and this film feels more like a made for TV film, than a major motion picture.
Which is why this film is a good one to catch on one of the streaming services it is currently on. It is a fun enough film that will entertain young and old alike over the Holidays.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
The good news is that it is now streaming on multiple streaming services so as people gather for the Holidays there is a fun, family friendly (but good for adults) film that young and old alike could gather around the TV to watch together.
Written by Mark Chappell and Directed by Tom George (both of whom who have quite a few BBC TV Series under their belts, but it looks like this is the Major Motion Picture debut for them both), SEE HOW THEY RUN is a comedic look at the British Murder Mystery with a frumpy detective, a victim who “deserved it” and a plethora of potential suspects who are all brought into a room by the Detective on a “dark and stormy” night to reveal “whodunnit”.
Normally, with these types of films, it comes down to the casting and while there are some very good - and fun - actors in many of the roles, one of the roles is terribly miscast and that brings down the quality of this film quite a bit.
So, let’s start with what works - the central murder mystery is clever…enough…(for this sort of thing) and is wonderfully constructed around the London Stage debut of the long-running Agatha Christie murder mystery play THE MOUSETRAP in the 1950’s and, thus, this film is a period piece and that atmosphere adds - in a positive way - to the look and feel of this movie.
Saoirse Ronan, as always, is very good as the young Policewoman who is brought in to aide the main detective and proves out to be quite the Detective herself. She really holds this film together tightly in the middle. Adrien Brody, Ruth Wilson, David Oyelowo and Harris Dickinson all bring something to the film in their characters (and suspects) that add color and life to the central mystery.
Unfortunately, the usually good Sam Rockwell is miscast as the lead sleuth on this case. His frumpy, disheveled Detective was reminiscent of Columbo and just didn’t fit in this British Murder Mystery. While this performance is not a distraction to this film, it doesn’t elevate or lift this movie either, and - in a murder mystery - the detective solving the mystery is a major cog in the movie machine and this cog just isn’t that interesting.
Rockwell is not helped by a green Director and Writer who are looking to make the leap from television to film and this film feels more like a made for TV film, than a major motion picture.
Which is why this film is a good one to catch on one of the streaming services it is currently on. It is a fun enough film that will entertain young and old alike over the Holidays.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
Hazel (1853 KP) rated Sidney Chambers and the Shadow of Death in Books
Jul 27, 2017
A unique series of crime
I received this book for free through Goodreads First Reads
In 2014, ITV broadcasted the first episode of Grantchester, a drama series based on books by British novelist, James Runcie. Although written during the twenty-first century, the story is set in the 1950s in a village on the outskirts of Cambridge. Sidney Chambers, a young Canon in charge of the Church of St Andrew and Mary, is a polite and friendly character who, despite his reluctance, ends up acting as a detective in a variety of crimes.
Sidney Chambers and the Shadow of Death is the first book of six in The Grantchester Mysteries. Split into six individual baffling cases, the background story of Sidney’s private life continues to develop throughout. Each crime is committed and swiftly solved by the Canon and his friend, Inspector Geordie Keating, although it is Sidney who ultimately resolves the case.
Murder, jewellery theft and art forgery and just some of the felonies Sidney grudgingly gets involved with. In fact, unresolved crimes tend to land in his lap rather than offering his assistance willingly. Up at dawn to work on sermons before rushing off to capture criminals, Sidney is never off duty.
A vicar may seem like an unlikely candidate for a detective, however, people tend to open up to him and unintentionally reveal delitescent information. Listening to suspects and witnesses without pre-judgement allows Sidney to think things through carefully rather than jumping to conclusions. From the moment the crime is committed right up until the story’s denouement, Sidney passionately does everything he can to make sure the correct culprit is discovered.
What makes this series different from other crime novels is the focus on Sidney Chambers’ own life. James Runcie emphasises the loneliness of a bachelor living in a vicarage with only a curate and crotchety housekeeper for company. Readers are drawn into Sidney’s stories and hold onto the hope that his dalliances with the beautiful Amanda turn out to be something more concrete.
Those who have watched the ITV series will be familiar with the stories in this book because the producer has stuck to the exact storyline, not missing a single thing out or adding anything extra. The fact that there were only two years between publishing and screen production goes to show how well written and thought out these stories are. Unlike famous detective novels such as Sherlock Holmes or those by Agatha Christie, The Grantchester Mysteries are not set at the time of writing, so, although they are historically accurate, the prose is suitable for present day readers.
Each story is quick to read and is easy going, making it a relaxing and enjoyable book. It is not a thriller or horror, although some of the crimes are quite terrible. Instead, it is entertaining and often humorous. It is suitable for crime fiction fans as well as those new to the genre.
Regardless of whether you have watched the television series or not, Sidney Chambers and the Shadow of Death is a delight to read. Of course, ITV has given away all the endings, but it is a different experience to read it in print rather than seeing it acted out on screen. Featuring the face of James Norton on the cover so as to work as a TV tie-in, the series will be easy to spot in prime position on bookshelves both in shops and personal collections.
In 2014, ITV broadcasted the first episode of Grantchester, a drama series based on books by British novelist, James Runcie. Although written during the twenty-first century, the story is set in the 1950s in a village on the outskirts of Cambridge. Sidney Chambers, a young Canon in charge of the Church of St Andrew and Mary, is a polite and friendly character who, despite his reluctance, ends up acting as a detective in a variety of crimes.
Sidney Chambers and the Shadow of Death is the first book of six in The Grantchester Mysteries. Split into six individual baffling cases, the background story of Sidney’s private life continues to develop throughout. Each crime is committed and swiftly solved by the Canon and his friend, Inspector Geordie Keating, although it is Sidney who ultimately resolves the case.
Murder, jewellery theft and art forgery and just some of the felonies Sidney grudgingly gets involved with. In fact, unresolved crimes tend to land in his lap rather than offering his assistance willingly. Up at dawn to work on sermons before rushing off to capture criminals, Sidney is never off duty.
A vicar may seem like an unlikely candidate for a detective, however, people tend to open up to him and unintentionally reveal delitescent information. Listening to suspects and witnesses without pre-judgement allows Sidney to think things through carefully rather than jumping to conclusions. From the moment the crime is committed right up until the story’s denouement, Sidney passionately does everything he can to make sure the correct culprit is discovered.
What makes this series different from other crime novels is the focus on Sidney Chambers’ own life. James Runcie emphasises the loneliness of a bachelor living in a vicarage with only a curate and crotchety housekeeper for company. Readers are drawn into Sidney’s stories and hold onto the hope that his dalliances with the beautiful Amanda turn out to be something more concrete.
Those who have watched the ITV series will be familiar with the stories in this book because the producer has stuck to the exact storyline, not missing a single thing out or adding anything extra. The fact that there were only two years between publishing and screen production goes to show how well written and thought out these stories are. Unlike famous detective novels such as Sherlock Holmes or those by Agatha Christie, The Grantchester Mysteries are not set at the time of writing, so, although they are historically accurate, the prose is suitable for present day readers.
Each story is quick to read and is easy going, making it a relaxing and enjoyable book. It is not a thriller or horror, although some of the crimes are quite terrible. Instead, it is entertaining and often humorous. It is suitable for crime fiction fans as well as those new to the genre.
Regardless of whether you have watched the television series or not, Sidney Chambers and the Shadow of Death is a delight to read. Of course, ITV has given away all the endings, but it is a different experience to read it in print rather than seeing it acted out on screen. Featuring the face of James Norton on the cover so as to work as a TV tie-in, the series will be easy to spot in prime position on bookshelves both in shops and personal collections.
Kristy H (1252 KP) rated Into the Night in Books
Mar 6, 2019
Intriguing and refreshing mystery
Detective Sergeant Gemma Woodstock is working in Melbourne now, trying to negotiate relationships with her new boss, Chief Inspector Toby Isaacs, and her partner, Detective Sergeant Fleet. She has been in Melbourne for three months; this has meant leaving behind her five-year-old son, Ben, and his father, Scott. She's keeping busy with a series of cases, including that of a homeless man, Walter Miller, who was brutally killed and one with the famous actor, Sterling Wade, who was stabbed while filming a high-profile zombie film. Alone and away from her son, Gemma throws herself into her work, but will these difficult cases prove too much for her and her emotional well-being?
"I was high-functioning but deeply broken and eventually something had to give. When the opportunity to transfer to Melbourne arose, I needed to take it. Living in Smithson was slowly killing me."
This novel picks up a few years after the first Gemma book. Gemma has been haunted by the Rosalind Rose case featured in Bailey's superb first novel, The Dark Lake, as well as her affair with her former partner, Felix. We find her lost and floundering. This serves a dual-purpose for us, the reader. We get to read a novel with a complicated, realistic character in Gemma. She's true to herself. On the other hand, she's not always the easiest to like or even empathize with. This is a woman who has left her child behind, after all. I have to congratulate Bailey on having Gemma not make the easy/safe choices in life, or the ones you typically see in detective novels. Not only do we get a strong yet vulnerable female character, we get one who is flawed, real, and struggling to find her way in the world. I certainly didn't always agree with her choices, but I do enjoy reading about them.
Even better, Gemma features in an excellent complicated and captivating mystery, with several cases that keep you guessing. The prominent one is the Sterling Wade case. Bailey brings in various Hollywood elements, and there are a lot of characters to suspect and pieces to put together. I quite liked not knowing who had killed Sterling. Even the detectives were flummoxed at times: how refreshing. Throughout all her cases, Gemma is working out where she fits in her new department and how she relates to her new partner, Fleet. There's a lot going on, but Bailey handles it all quite deftly. The excellent writing I enjoyed so much in her first novel is on display again here; you'll be impressed at the way she can pull together her story and bring out her characters.
"'Or maybe this case is just fucking with my mind,' I say, 'and making me think that Agatha Christie plots are coming to life.'"
Overall, I found this book intriguing and refreshing. Gemma is a complicated and complex character who is matched by the intricate cases she attempts to solve. Those who enjoy a character-driven mystery will be drawn to Gemma's prickly exterior, while those who simply enjoy a hard-to-solve case will find plenty to like here as well. Sarah Bailey is certainly a go-to author for me.
I received a copy of this book from the publisher and Netgalley in return for an unbiased review (thank you!).
"I was high-functioning but deeply broken and eventually something had to give. When the opportunity to transfer to Melbourne arose, I needed to take it. Living in Smithson was slowly killing me."
This novel picks up a few years after the first Gemma book. Gemma has been haunted by the Rosalind Rose case featured in Bailey's superb first novel, The Dark Lake, as well as her affair with her former partner, Felix. We find her lost and floundering. This serves a dual-purpose for us, the reader. We get to read a novel with a complicated, realistic character in Gemma. She's true to herself. On the other hand, she's not always the easiest to like or even empathize with. This is a woman who has left her child behind, after all. I have to congratulate Bailey on having Gemma not make the easy/safe choices in life, or the ones you typically see in detective novels. Not only do we get a strong yet vulnerable female character, we get one who is flawed, real, and struggling to find her way in the world. I certainly didn't always agree with her choices, but I do enjoy reading about them.
Even better, Gemma features in an excellent complicated and captivating mystery, with several cases that keep you guessing. The prominent one is the Sterling Wade case. Bailey brings in various Hollywood elements, and there are a lot of characters to suspect and pieces to put together. I quite liked not knowing who had killed Sterling. Even the detectives were flummoxed at times: how refreshing. Throughout all her cases, Gemma is working out where she fits in her new department and how she relates to her new partner, Fleet. There's a lot going on, but Bailey handles it all quite deftly. The excellent writing I enjoyed so much in her first novel is on display again here; you'll be impressed at the way she can pull together her story and bring out her characters.
"'Or maybe this case is just fucking with my mind,' I say, 'and making me think that Agatha Christie plots are coming to life.'"
Overall, I found this book intriguing and refreshing. Gemma is a complicated and complex character who is matched by the intricate cases she attempts to solve. Those who enjoy a character-driven mystery will be drawn to Gemma's prickly exterior, while those who simply enjoy a hard-to-solve case will find plenty to like here as well. Sarah Bailey is certainly a go-to author for me.
I received a copy of this book from the publisher and Netgalley in return for an unbiased review (thank you!).
Kristy H (1252 KP) rated The Woman in Cabin 10 in Books
Feb 8, 2018
Laura (Lo) Blackstock is excited to finally get the opportunity of her travel journalism career: a chance to cover the launch of a luxury cruise ship, the Aurora. The ship is headed to Norway, and Lo has the ability to mingle with a set of wealthy passengers and make some connections to jump-start her writing career. But before she even sets foot on the boat, Lo is reeling from a break-in at her apartment, which leaves her anxious, exhausted, and--through a series of unfortunate events--on the outs with her boyfriend, Jonah. Still, at first the Aurora seems gorgeous and luxurious, if a bit small for Lo's claustrophobia. But her first evening on board, after an evening of dining and drinking, Lo is awoken to the sound of an argument in cabin 10 next door, and she's convinced she sees a woman tossed overboard. But no one on the ship believes her, and the woman she knows she met earlier in cabin 10, when asking to borrow mascara, is gone--nowhere on the boat. Lo knows realistically this isn't possible: it's a small boat and people can't just disappear. But she also knows who she saw and what she saw. Is she going crazy? And is someone on the boat now out to get her?
This was an interesting and suspenseful thriller. I agree with the comparisons to an Agatha Christie novel: with the setting of the novel being a ship, you have a limited cast of characters (and suspects), which heightens some of the intrigue. Ware does an excellent job of setting the scene, and you can practically feel yourself trapped in this opulent yet slightly claustrophobic, endlessly rocking luxury cruise-liner. Lo is set up rather quickly as unreliable narrator: she's clearly anxious after her break-in, prone to drinking, and reeling from a lack of sleep. Therefore, from the outset, we're not sure if we can trust what we're reading or what seems to be unfolding on this ship. One of my favorite things about this novel is that it certainly keeps you guessing -- I was constantly coming up with (and discarding) various theories as I read, placing blame on a new character every few chapters. And, of course, always harboring that seed of doubt that Lo just made the entire thing up. While we hear entirely from Lo, Ware places a few newspaper stories at the end of each chapter, which just add to your doubt and confusion.
As for Lo, she's not the most enjoyable of main characters and due to our limited set of characters, we don't have many others, so most of the tale hinges on her. She's a bit annoying and whiny and prone to overthinking and bad decisions. She can get frustrating at times, to say the least. The story itself isn't really creepy or spooky, but it's definitely interesting and, as I said, keeps you guessing until nearly the very end. A few of the plot points seem a bit haphazard, as if things were just jammed together randomly into the story, but I suppose they all work together at the end.
Overall, this is certainly an engaging and suspenseful thriller. If you enjoy a fast-paced whodunnit, this one is for you. 3.5 stars.
This was an interesting and suspenseful thriller. I agree with the comparisons to an Agatha Christie novel: with the setting of the novel being a ship, you have a limited cast of characters (and suspects), which heightens some of the intrigue. Ware does an excellent job of setting the scene, and you can practically feel yourself trapped in this opulent yet slightly claustrophobic, endlessly rocking luxury cruise-liner. Lo is set up rather quickly as unreliable narrator: she's clearly anxious after her break-in, prone to drinking, and reeling from a lack of sleep. Therefore, from the outset, we're not sure if we can trust what we're reading or what seems to be unfolding on this ship. One of my favorite things about this novel is that it certainly keeps you guessing -- I was constantly coming up with (and discarding) various theories as I read, placing blame on a new character every few chapters. And, of course, always harboring that seed of doubt that Lo just made the entire thing up. While we hear entirely from Lo, Ware places a few newspaper stories at the end of each chapter, which just add to your doubt and confusion.
As for Lo, she's not the most enjoyable of main characters and due to our limited set of characters, we don't have many others, so most of the tale hinges on her. She's a bit annoying and whiny and prone to overthinking and bad decisions. She can get frustrating at times, to say the least. The story itself isn't really creepy or spooky, but it's definitely interesting and, as I said, keeps you guessing until nearly the very end. A few of the plot points seem a bit haphazard, as if things were just jammed together randomly into the story, but I suppose they all work together at the end.
Overall, this is certainly an engaging and suspenseful thriller. If you enjoy a fast-paced whodunnit, this one is for you. 3.5 stars.
Mayhawke (97 KP) rated Bats In The Belfry in Books
Feb 26, 2018 (Updated Feb 27, 2018)
A Cosy Crime sleeper worthy of resurrection
I’m a huge fan of Cosy Crime, I cut my grown-up reading teeth on Agatha Christie and Dorothy L Sayers, so it should be no surprise that I’m a big fan of the British Library’s inspired decision to republish lost Golden Age novels.
Fifty-one re-issues in and I’m still stunned at the number of authors who had stellar careers as crime writers, were fully inducted members of the Detection Club, and had publication lists to rival Christie’s but who, within a few years of their deaths, had just vanished from the pantheon classic crime novelists.
Such a writer was E.C.R.Lorac, author of Bats In The Belfry. In his introduction Martin Edwards describes the pseudonymous Lorac (real name Edith Caroline Rivett) as enjoying a “low-key career spanning more than a quarter of a century.” It also produced a catalogue of over seventy novels, yet, cosy crime fan that I am I had never heard of her until her book turned up on my work intranet.
Bats, British Library’s inaugural Crime Classic for 2018, is also the first of Lorac’s novels to be given the British Library treatment. It couldn’t have happened to a better book! One of the dangers of republishing books that have disappeared in the mists of time, at least if you are republishing them for the mass market, is that some of them will prove to have been ‘lost’ with good cause. Not that the writing need be poor or the plotting weak, but there are social aspects that can be critical to the development or fundamental premise of the story that change over the course of half a century. When that happens there is a danger that the reader will at best be disgruntled with a puzzle they were unlikely to be able to solve because they didn’t understand the clues they were being given, or, at worst, that the whole premise will seem beyond ludicrous to modern readers. Of the twenty or so BLCC’s I have read only one has fallen into the latter category, and whilst there have been one or two which were a bit plodding thanks to such issues they have largely been a pleasure to read, and I have been able to joyfully pit my wits against the authors’ intrinsic challenge to solve the mystery before the denouement.
Bats in the Belfry most definitely falls into this class of Crime Classic, so much so that it’s a surprise to find from Edwards that it was a bit of a non-starter when it was first published in 1937.
A failing writer, his actress wife, his ward and a selection of friends are collected one evening following the funeral of the writer’s cousin. Shortly thereafter the writer himself has vanished, his suitcase and passport left in a darkly sinister studio known variously as The Belfry, and The Morgue. The story is as dark and twisty as any you could hope for from a member of the Detection Club, and it plays nicely on themes of the time. Broken marriages, financially emasculated men, and the requisite ‘strange foreign man’ all appear, and even aarchaeology gets a look in. As the main characters sit and incautiously discuss ways to bump off someone and hide the body there is brief verbal tussle over the usefulness – and even existence of – dene holes, ancient subterranean storage areas that provided writers of the time with endless possibilities, most notably in Sayers’ The Nine Tailors. Lorac’s plotting is flawless and deceptively simplistic, and she leads you back and forth from suspect to suspect. She is brutally unsympathetic to her characters, and her writing bundles you along until you finally reach the conclusion, to discover how good you are at detecting. Or not.
Fifty-one re-issues in and I’m still stunned at the number of authors who had stellar careers as crime writers, were fully inducted members of the Detection Club, and had publication lists to rival Christie’s but who, within a few years of their deaths, had just vanished from the pantheon classic crime novelists.
Such a writer was E.C.R.Lorac, author of Bats In The Belfry. In his introduction Martin Edwards describes the pseudonymous Lorac (real name Edith Caroline Rivett) as enjoying a “low-key career spanning more than a quarter of a century.” It also produced a catalogue of over seventy novels, yet, cosy crime fan that I am I had never heard of her until her book turned up on my work intranet.
Bats, British Library’s inaugural Crime Classic for 2018, is also the first of Lorac’s novels to be given the British Library treatment. It couldn’t have happened to a better book! One of the dangers of republishing books that have disappeared in the mists of time, at least if you are republishing them for the mass market, is that some of them will prove to have been ‘lost’ with good cause. Not that the writing need be poor or the plotting weak, but there are social aspects that can be critical to the development or fundamental premise of the story that change over the course of half a century. When that happens there is a danger that the reader will at best be disgruntled with a puzzle they were unlikely to be able to solve because they didn’t understand the clues they were being given, or, at worst, that the whole premise will seem beyond ludicrous to modern readers. Of the twenty or so BLCC’s I have read only one has fallen into the latter category, and whilst there have been one or two which were a bit plodding thanks to such issues they have largely been a pleasure to read, and I have been able to joyfully pit my wits against the authors’ intrinsic challenge to solve the mystery before the denouement.
Bats in the Belfry most definitely falls into this class of Crime Classic, so much so that it’s a surprise to find from Edwards that it was a bit of a non-starter when it was first published in 1937.
A failing writer, his actress wife, his ward and a selection of friends are collected one evening following the funeral of the writer’s cousin. Shortly thereafter the writer himself has vanished, his suitcase and passport left in a darkly sinister studio known variously as The Belfry, and The Morgue. The story is as dark and twisty as any you could hope for from a member of the Detection Club, and it plays nicely on themes of the time. Broken marriages, financially emasculated men, and the requisite ‘strange foreign man’ all appear, and even aarchaeology gets a look in. As the main characters sit and incautiously discuss ways to bump off someone and hide the body there is brief verbal tussle over the usefulness – and even existence of – dene holes, ancient subterranean storage areas that provided writers of the time with endless possibilities, most notably in Sayers’ The Nine Tailors. Lorac’s plotting is flawless and deceptively simplistic, and she leads you back and forth from suspect to suspect. She is brutally unsympathetic to her characters, and her writing bundles you along until you finally reach the conclusion, to discover how good you are at detecting. Or not.
Bob Mann (459 KP) rated Knives Out (2019) in Movies
Dec 4, 2019
If they were to give it a go, this movie should justifiably be Rian's redemption from the harshest of his previous critics. For this is a really entertaining film. I found myself smiling with glee through a sizable proportion of the running time.
Multi-millionaire crime-fiction author Harlan Thrombey (the wonderful Christopher Plummer) is celebrating his 85th birthday with three generations of his family in his "Cludo-like" mansion. But all is not well with the family harmonic and the next morning Harlan is found dead in his room by his nurse Marta (Ana de Armas). Apparently, it's a suicide, but when private detective Benoit Blanc (Daniel Craig) arrives on the scene he starts turning over stones "oin seearch ov tha troooth" (sic) and dark secrets begin to emerge.
Key to success of this Agatha Christie-style movie is a dense portmanteau cast and a well-plotted script. Both are here present.
In terms of the cast, this is another candidate for the SAG Ensemble Cast award. For the cast is suitably stellar with Chris "Cap" Evans, Toni Collette, Michael Shannon, Jamie Lee Curtis and Don Johnson vying for the top billing with Craig and Plummer. They bounce off each other joyously, with Collette taking my prize for top acting kudos. She's just deliciously over the top as the scheming hippy chick with the rasping voice and the cutting one-liners.
With a starring role is Cuban bombshell Ana de Armas, here notching down the glamour to play the plainly dressed nurse. But she has a magnetic screen presence and is perfectly cast as the girl at the heart of all the action. She has the doe-eyed innocence that Alfred Hitchcock was always looking for in his leading ladies. Interestingly, she is soon to appear with Craig again as Bond-girl Paloma in "No Time to Die".
Elsewhere in the cast are some interesting cameos: the family's lawyer is none other than Frank "Yoda" Oz; and the ancient security guard is M. Emmet Walsh, who has an amazing filmography going back to the late 60's.
Writer/director is clearly his 'thing'. But Rian Johnson here pulls off a neat trick with the script which is brilliantly twisty and turny and 100% entertaining. Although it's presented as cuts between the 'present time' and versions of the night in question, the whole doughnut is never entirely in view until the final reel. It's a satisfying story, and some of the dialogue is laugh-out-loud funny.
A nice plot point is the inability for young Marta to tell a lie without vomiting. Wouldn't the UK General Elections be Sooooo much more colourful if that was a general trait!!
I've only the one real criticism of the movie, and that's Daniel Craig's appalling Southern drawl. It's really quite distracting. Aside from some witty lines of dialogue ("What is this? CSI KFC?") nothing would have been lost to cast him as an urbane English detective instead. They could have slipped in some Brexit jokes instead! I appreciate Craig wants to distance himself from Bond somewhat. He did the same thing as Joe Bang in "Logan Lucky". But - sorry - it didn't really work for me then and it doesn't work now either.
In summary, this is a really fun movie that a whole family with older children (the rating is 12+) can go and enjoy together. There's limited violence; limited swearing and sexual innuendo; and no sex (save for the Hitler youth in the bathroom!). But there is a whole lot of sleuthing fun to be had. Bravo Mr Johnson, bravo! For that reason it comes with a bob-the-movie-man "Highly recommended" tag.
(For the full graphical review please check out https://bob-the-movie-man.com/2019/12/04/one-manns-movies-film-review-knives-out-2019/).
Multi-millionaire crime-fiction author Harlan Thrombey (the wonderful Christopher Plummer) is celebrating his 85th birthday with three generations of his family in his "Cludo-like" mansion. But all is not well with the family harmonic and the next morning Harlan is found dead in his room by his nurse Marta (Ana de Armas). Apparently, it's a suicide, but when private detective Benoit Blanc (Daniel Craig) arrives on the scene he starts turning over stones "oin seearch ov tha troooth" (sic) and dark secrets begin to emerge.
Key to success of this Agatha Christie-style movie is a dense portmanteau cast and a well-plotted script. Both are here present.
In terms of the cast, this is another candidate for the SAG Ensemble Cast award. For the cast is suitably stellar with Chris "Cap" Evans, Toni Collette, Michael Shannon, Jamie Lee Curtis and Don Johnson vying for the top billing with Craig and Plummer. They bounce off each other joyously, with Collette taking my prize for top acting kudos. She's just deliciously over the top as the scheming hippy chick with the rasping voice and the cutting one-liners.
With a starring role is Cuban bombshell Ana de Armas, here notching down the glamour to play the plainly dressed nurse. But she has a magnetic screen presence and is perfectly cast as the girl at the heart of all the action. She has the doe-eyed innocence that Alfred Hitchcock was always looking for in his leading ladies. Interestingly, she is soon to appear with Craig again as Bond-girl Paloma in "No Time to Die".
Elsewhere in the cast are some interesting cameos: the family's lawyer is none other than Frank "Yoda" Oz; and the ancient security guard is M. Emmet Walsh, who has an amazing filmography going back to the late 60's.
Writer/director is clearly his 'thing'. But Rian Johnson here pulls off a neat trick with the script which is brilliantly twisty and turny and 100% entertaining. Although it's presented as cuts between the 'present time' and versions of the night in question, the whole doughnut is never entirely in view until the final reel. It's a satisfying story, and some of the dialogue is laugh-out-loud funny.
A nice plot point is the inability for young Marta to tell a lie without vomiting. Wouldn't the UK General Elections be Sooooo much more colourful if that was a general trait!!
I've only the one real criticism of the movie, and that's Daniel Craig's appalling Southern drawl. It's really quite distracting. Aside from some witty lines of dialogue ("What is this? CSI KFC?") nothing would have been lost to cast him as an urbane English detective instead. They could have slipped in some Brexit jokes instead! I appreciate Craig wants to distance himself from Bond somewhat. He did the same thing as Joe Bang in "Logan Lucky". But - sorry - it didn't really work for me then and it doesn't work now either.
In summary, this is a really fun movie that a whole family with older children (the rating is 12+) can go and enjoy together. There's limited violence; limited swearing and sexual innuendo; and no sex (save for the Hitler youth in the bathroom!). But there is a whole lot of sleuthing fun to be had. Bravo Mr Johnson, bravo! For that reason it comes with a bob-the-movie-man "Highly recommended" tag.
(For the full graphical review please check out https://bob-the-movie-man.com/2019/12/04/one-manns-movies-film-review-knives-out-2019/).
BankofMarquis (1832 KP) rated Knives Out (2019) in Movies
Jan 3, 2020
Original and Quirky...enough
KNIVES OUT was one of the films I had circled on my calendar as a "must see". It seemed to be a perfect antidote to the CGI-Fest films that are very prevalent in the multi-plex today. So...when life got in the way and I couldn't get to this film for about a month, I tried (and succeeded) in not getting this movie spoiled for me in my various Social Media feeds.
And I'm glad I went to such lengths, for I found KNIVES OUT to be a truly original and entertaining film that kept me guessing throughout the length of the film - right up to the "big reveal."
So...if you haven't seen this film...stop reading this now...go see it...and come back.
Still here (or are you back)? Okay...let's continue...
Directed by Rian Johnson (known by many as the Director of THE LAST JEDI, but I think this movie owes more of it's heritage to his breakthrough film BRICK or his Sci-Fi action flick, LOOPER), KNIVES OUT is an old-fashioned, Agatha Christie-type murder mystery complete with an oddball Detective trying to figure out "whodunnit" that features an All-Star cast of suspects as well as an Oscar winning murder victim.
As I stated above, Johnson has traversed a murder mystery-type film before in his neo-noir homage BRICK, but in this film he really let's his wings fly as he plays, marvelously, with the drawing room murder mystery pastiche. Johnson wrote and directed this film and the twists and turns and originality of his vision is apparent on screen, playing with expectations without being too clever.
He has assembled an All-Star cast of actors playing interesting characters. Jamie Lee Curtis, Michael Shannon, Chris Evans, Toni Colette, Don Johnson and Jacob Trombley all bring star power and charisma to their roles and each one COULD have been the murderer. As often happens in these types of films, each one gets A scene to shine, but only the one "whodunnit" really gets to step out.
As the Law Enforcement on their trail, Lakeith Stanfield (GET OUT) and Noah Segan (LOOPER) play off each other well and they play off of Daniel Craig (James Bond, of course) very well. Craig plays Private Detective Benoit Blanc with some sort of Cajun-type accent that works more than it doesn't, I enjoyed his performance enough to find it charming and not annoying.
Special notice needs to be made of the performances of Christopher Plummer - as the murder victim (I'm not spoiling anything here, it's in the trailer) and Frank Oz (the famous Muppeteer and Director). Both are "old pros" who bring a grounding to the proceedings. Their performances are almost down to earth commentaries on the other characters/performances and they both helped out this film tremendously.
Finally, the film revolves around the journey that Ana de Armas' character, Maria Cabrera, is on in this film. She is the audience's eyes and ears into this story, having clues and plot points revealed to her as we, the audience, have them revealed to us. I fell in love with de Armas when she played Joi in BLADE RUNNER: 2049 and she is pleasant enough company here to search out this mystery with.
With all these pieces - and characters - to put together and move around, I did find that this film suffered a bit by "too much" and "too fast" at times that caused me not to care about certain people and circumstances (especially at the beginning), but that was quickly forgotten/forgiven as the film progressed and I was engrossed in the mystery - a mystery that I did not know how it was going to end.
And that, is unique and rare enough for me.
Letter Grade: B+
7 1/2 (out of 10) stars and you can take that to the Bank(ofMarquis)
And I'm glad I went to such lengths, for I found KNIVES OUT to be a truly original and entertaining film that kept me guessing throughout the length of the film - right up to the "big reveal."
So...if you haven't seen this film...stop reading this now...go see it...and come back.
Still here (or are you back)? Okay...let's continue...
Directed by Rian Johnson (known by many as the Director of THE LAST JEDI, but I think this movie owes more of it's heritage to his breakthrough film BRICK or his Sci-Fi action flick, LOOPER), KNIVES OUT is an old-fashioned, Agatha Christie-type murder mystery complete with an oddball Detective trying to figure out "whodunnit" that features an All-Star cast of suspects as well as an Oscar winning murder victim.
As I stated above, Johnson has traversed a murder mystery-type film before in his neo-noir homage BRICK, but in this film he really let's his wings fly as he plays, marvelously, with the drawing room murder mystery pastiche. Johnson wrote and directed this film and the twists and turns and originality of his vision is apparent on screen, playing with expectations without being too clever.
He has assembled an All-Star cast of actors playing interesting characters. Jamie Lee Curtis, Michael Shannon, Chris Evans, Toni Colette, Don Johnson and Jacob Trombley all bring star power and charisma to their roles and each one COULD have been the murderer. As often happens in these types of films, each one gets A scene to shine, but only the one "whodunnit" really gets to step out.
As the Law Enforcement on their trail, Lakeith Stanfield (GET OUT) and Noah Segan (LOOPER) play off each other well and they play off of Daniel Craig (James Bond, of course) very well. Craig plays Private Detective Benoit Blanc with some sort of Cajun-type accent that works more than it doesn't, I enjoyed his performance enough to find it charming and not annoying.
Special notice needs to be made of the performances of Christopher Plummer - as the murder victim (I'm not spoiling anything here, it's in the trailer) and Frank Oz (the famous Muppeteer and Director). Both are "old pros" who bring a grounding to the proceedings. Their performances are almost down to earth commentaries on the other characters/performances and they both helped out this film tremendously.
Finally, the film revolves around the journey that Ana de Armas' character, Maria Cabrera, is on in this film. She is the audience's eyes and ears into this story, having clues and plot points revealed to her as we, the audience, have them revealed to us. I fell in love with de Armas when she played Joi in BLADE RUNNER: 2049 and she is pleasant enough company here to search out this mystery with.
With all these pieces - and characters - to put together and move around, I did find that this film suffered a bit by "too much" and "too fast" at times that caused me not to care about certain people and circumstances (especially at the beginning), but that was quickly forgotten/forgiven as the film progressed and I was engrossed in the mystery - a mystery that I did not know how it was going to end.
And that, is unique and rare enough for me.
Letter Grade: B+
7 1/2 (out of 10) stars and you can take that to the Bank(ofMarquis)
Sophia (Bookwyrming Thoughts) (530 KP) rated Becoming Darkness in Books
Jan 23, 2020
<b><i>I received this book for free from Publisher in exchange for an honest review. This does not affect my opinion of the book or the content of my review.</i></b>
Never have I ever read a book in which Hitler won World War II and succeeded in taking over the world.
Until now. I admit I'm a little fond of this one because of the whole alternative history thing going on right there, but I'm a little disturbed here, Lindsay Francis Brambles. You're as bad as Agatha Christie and came very close to killing everyone. Although technically, you did kill most of the characters that I grew fond of. Not cool. I don't think I can ever forgive you for this transgression of Trigger Happy Book. (More like Explosion Happy Book.)
But in the very long run, I only liked <i>Becoming Darkness</i> for a few things.
Sadistic as it may be, I did like how Brambles made Hitler won the second world war and unleashed a virus that made a lot of people turn into vampires all of that is told within the first few pages. Although the origins of Gemorrah (le virus) is revealed throughout the story and integrated in the plot, I still don't understand how the creators came up with that name in the first place. Does it mean something in German, or is it something they thought sounded sinister and cool and decided to go with it? In my humble opinion, it does not sound cool or sinister. It sounds like a Mary Poppins word.
I also really liked how Brambles didn't go completely off course from history there are some references to the war, there might be another significant historical figure who makes a cameo appearance (under a different name, but don't quote me), etc. Basically, there's not much that's thrown in completely off kilter aside from maybe the virus I still feel fishy about that.
Sophie Harkness does not take BS when there are boys hitting on her in the stupidest, cheesiest ways. Namely: "We're meant for one another because you're a girl, I'm a guy, and we have the parts to create phenomenal offspring." Sorry for the disturbing image, but that was very much implied by the character. Unfortunately for her, she sort of believes in love at first sight when she first met Val back when she was fourteen.
Sophie is also not a judgmental character she's very open-minded and believes vampires aren't exactly sinister blood sucking creatures. Every other Immune, those who can't get Gemorrah, are so judgmental and narrow-minded, it just peeves me greatly. It IS understandable, though, considering the year Brambles sets the book in.
Unfortunately, I didn't really like the whole flashbacks. For awhile in the beginning, it's a little confusing and I had to backtrack to make sure it was a flashback and not actually set in the present day. There's a "sort-of" warning and then we're in flashback mode that feels like it's set in the present but is really Sophie telling a story. On the bright side, all those flashbacks (and the journal entries written by Sophie's mom) all play a relevant role in the overall plot.
I also didn't really like Valentine. Though I eventually warmed up to him over the course of the book, something about him was really disturbing. He's not an annoying "stalker type" of character, but it IS a little weird he still tried to keep his connections to Sophie's family from grandma to mom to Sophie in the hopes of falling in love again. But considering the fact he's doesn't throw out stupidly cheesy lines at Sophie, I like him a little.
Have I mentioned I'm sick and tired of seeing the name Valentine over and over again in literature? We just can't get any more original than St. Valentine, can we?
I would totally summarize <i>Becoming Darkness</i> in a few words if only I didn't end up giving major spoilers. But in a nutshell, the book quite literally tells me all of us should be downright grateful the Third Reich didn't succeed. It also told me I'm royally screwed if the way to a man's heart is through his stomach, but I think I've established that in sixth grade with the whole Ramen Noodle Stove catastrophe.
<a href="https://bookwyrmingthoughts.com/arc-review-becoming-darkness-by-lindsay-francis-brambles/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Never have I ever read a book in which Hitler won World War II and succeeded in taking over the world.
Until now. I admit I'm a little fond of this one because of the whole alternative history thing going on right there, but I'm a little disturbed here, Lindsay Francis Brambles. You're as bad as Agatha Christie and came very close to killing everyone. Although technically, you did kill most of the characters that I grew fond of. Not cool. I don't think I can ever forgive you for this transgression of Trigger Happy Book. (More like Explosion Happy Book.)
But in the very long run, I only liked <i>Becoming Darkness</i> for a few things.
Sadistic as it may be, I did like how Brambles made Hitler won the second world war and unleashed a virus that made a lot of people turn into vampires all of that is told within the first few pages. Although the origins of Gemorrah (le virus) is revealed throughout the story and integrated in the plot, I still don't understand how the creators came up with that name in the first place. Does it mean something in German, or is it something they thought sounded sinister and cool and decided to go with it? In my humble opinion, it does not sound cool or sinister. It sounds like a Mary Poppins word.
I also really liked how Brambles didn't go completely off course from history there are some references to the war, there might be another significant historical figure who makes a cameo appearance (under a different name, but don't quote me), etc. Basically, there's not much that's thrown in completely off kilter aside from maybe the virus I still feel fishy about that.
Sophie Harkness does not take BS when there are boys hitting on her in the stupidest, cheesiest ways. Namely: "We're meant for one another because you're a girl, I'm a guy, and we have the parts to create phenomenal offspring." Sorry for the disturbing image, but that was very much implied by the character. Unfortunately for her, she sort of believes in love at first sight when she first met Val back when she was fourteen.
Sophie is also not a judgmental character she's very open-minded and believes vampires aren't exactly sinister blood sucking creatures. Every other Immune, those who can't get Gemorrah, are so judgmental and narrow-minded, it just peeves me greatly. It IS understandable, though, considering the year Brambles sets the book in.
Unfortunately, I didn't really like the whole flashbacks. For awhile in the beginning, it's a little confusing and I had to backtrack to make sure it was a flashback and not actually set in the present day. There's a "sort-of" warning and then we're in flashback mode that feels like it's set in the present but is really Sophie telling a story. On the bright side, all those flashbacks (and the journal entries written by Sophie's mom) all play a relevant role in the overall plot.
I also didn't really like Valentine. Though I eventually warmed up to him over the course of the book, something about him was really disturbing. He's not an annoying "stalker type" of character, but it IS a little weird he still tried to keep his connections to Sophie's family from grandma to mom to Sophie in the hopes of falling in love again. But considering the fact he's doesn't throw out stupidly cheesy lines at Sophie, I like him a little.
Have I mentioned I'm sick and tired of seeing the name Valentine over and over again in literature? We just can't get any more original than St. Valentine, can we?
I would totally summarize <i>Becoming Darkness</i> in a few words if only I didn't end up giving major spoilers. But in a nutshell, the book quite literally tells me all of us should be downright grateful the Third Reich didn't succeed. It also told me I'm royally screwed if the way to a man's heart is through his stomach, but I think I've established that in sixth grade with the whole Ramen Noodle Stove catastrophe.
<a href="https://bookwyrmingthoughts.com/arc-review-becoming-darkness-by-lindsay-francis-brambles/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Bob Mann (459 KP) rated Murder on the Orient Express (2017) in Movies
Sep 29, 2021
You’ll never guess who dunnit…
There’s a big problem with Kenneth Branagh’s 2017 filming of the Hercule Poirot-based murder mystery…. and that’s the 1974 Sidney Lumet classic featuring Albert Finney in the starring role. For that film was so memorable – at least, the “who” of the “whodunnit” (no spoilers here) was so memorable – that any remake is likely to be tarnished by that knowledge. If you go into this film blissfully unaware of the plot, you are a lucky man/woman. For this is a classic Agatha Christie yarn.
The irascible, borderline OCD, but undeniably great Belgian detective, Poirot, is dragged around the world by grateful police forces to help solve unsolvable crimes. After solving a case in Jerusalem, Poirot is called back to the UK with his mode of transport being the famous Orient Express. Trapped in the mountains by an avalanche, a murder is committed and with multiple suspects and a plethora of clues it is up to Poirot to solve the case.
Branagh enjoys himself enormously as Poirot, sporting the most distractingly magnificent facial hair since Daniel Day-Lewis in “The Gangs of New York”. The moustache must have had its own trailer and make-up team!
Above all, the film is glorious to look at, featuring a rich and exotic colour palette that is reminiscent of the early colour films of the 40’s. Cinematography was by Haris Zambarloukos (“Mamma Mia” and who also collaborated with Branagh on “Thor) with lots of innovative “ceiling down” shots and artful point-of-view takes that might be annoying to some but which I consider as deserving of Oscar/BAFTA nominations.
The pictures are accompanied by a lush score by Patrick Doyle (who also scored Branagh’s “Thor”). Hats off also to the special effects crew, who made the alpine bridge scenes look decidedly more alpine than where they were actually filmed (on a specially made bridge in the Surrey Hills!).
All these technical elements combine to make the film’s early stages look and feel truly epic.
And the cast… what a cast! Dame Judi Dench (“Victoria and Abdul“); Olivia Coleman (“The Lobster“); Johnny Depp (“Black Mass“); Daisy Ridley (“Star Wars: The Force Awakens“); Penélope Cruz (“Zoolander 2“); Josh Gad (Olaf!); Derek Jacobi (“I, Claudius”); Willem Dafoe (“The Great Wall“) and Michelle Pfeiffer (“mother!“). A real case again of an “oh, it’s you” film again at the cinema – when’s the last time we saw that?
It’s also great to see young Lucy Boynton, so magnificent in last year’s excellent “Sing Street“, getting an A-list role as the twitchy and disturbed countess.
With all these ingredients in the pot, it should be great, right? Unfortunately, in my view, no, not quite. The film’s opening momentum is really not maintained by the screenplay by Michael Green (“Blade Runner 2049“; “Logan“). At heart, it’s a fairly static and “stagey” piece at best, set as it is on the rather claustrophobic train (just three carriages… on the Orient Express… really?). But the tale is made even more static by the train’s derailment in the snow. Branagh and Green try to sex up the action where they can, but there are lengthy passages of fairly repetitive dialogue. One encounter in particular between Branagh and Depp seems to last interminably: you wonder if the problem was that the director wasn’t always looking on to yell “Cut”!
All this leads to the “revelation” of the murderer as being a bit of an anticlimactic “thank heavens for that” rather than the gasping denouement it should have been. (Perhaps this would be different if you didn’t know the twist).
However, these reservations aside, it’s an enjoyable night out at the flicks, although a bit of a disappointment from the level of expectation I had for it. I can’t be too grumpy about it, given it’s a return to good old-fashioned yarn-spinning at the cinema, with great visuals and an epic cast. And that has to be good news.
For sure, Branagh does make for an amusing and engaging Poirot, even if his dialogue did need some ‘tuning in’ to. There was a suggestion at the end of the film that we might be seeing his return in “Death on the Nile” – the most lush and decorous of Peter Ustinov’s outings – which I would certainly welcome. He will have to find another 10 A-list stars though to decorate the boat, which will be a challenge for casting!
The irascible, borderline OCD, but undeniably great Belgian detective, Poirot, is dragged around the world by grateful police forces to help solve unsolvable crimes. After solving a case in Jerusalem, Poirot is called back to the UK with his mode of transport being the famous Orient Express. Trapped in the mountains by an avalanche, a murder is committed and with multiple suspects and a plethora of clues it is up to Poirot to solve the case.
Branagh enjoys himself enormously as Poirot, sporting the most distractingly magnificent facial hair since Daniel Day-Lewis in “The Gangs of New York”. The moustache must have had its own trailer and make-up team!
Above all, the film is glorious to look at, featuring a rich and exotic colour palette that is reminiscent of the early colour films of the 40’s. Cinematography was by Haris Zambarloukos (“Mamma Mia” and who also collaborated with Branagh on “Thor) with lots of innovative “ceiling down” shots and artful point-of-view takes that might be annoying to some but which I consider as deserving of Oscar/BAFTA nominations.
The pictures are accompanied by a lush score by Patrick Doyle (who also scored Branagh’s “Thor”). Hats off also to the special effects crew, who made the alpine bridge scenes look decidedly more alpine than where they were actually filmed (on a specially made bridge in the Surrey Hills!).
All these technical elements combine to make the film’s early stages look and feel truly epic.
And the cast… what a cast! Dame Judi Dench (“Victoria and Abdul“); Olivia Coleman (“The Lobster“); Johnny Depp (“Black Mass“); Daisy Ridley (“Star Wars: The Force Awakens“); Penélope Cruz (“Zoolander 2“); Josh Gad (Olaf!); Derek Jacobi (“I, Claudius”); Willem Dafoe (“The Great Wall“) and Michelle Pfeiffer (“mother!“). A real case again of an “oh, it’s you” film again at the cinema – when’s the last time we saw that?
It’s also great to see young Lucy Boynton, so magnificent in last year’s excellent “Sing Street“, getting an A-list role as the twitchy and disturbed countess.
With all these ingredients in the pot, it should be great, right? Unfortunately, in my view, no, not quite. The film’s opening momentum is really not maintained by the screenplay by Michael Green (“Blade Runner 2049“; “Logan“). At heart, it’s a fairly static and “stagey” piece at best, set as it is on the rather claustrophobic train (just three carriages… on the Orient Express… really?). But the tale is made even more static by the train’s derailment in the snow. Branagh and Green try to sex up the action where they can, but there are lengthy passages of fairly repetitive dialogue. One encounter in particular between Branagh and Depp seems to last interminably: you wonder if the problem was that the director wasn’t always looking on to yell “Cut”!
All this leads to the “revelation” of the murderer as being a bit of an anticlimactic “thank heavens for that” rather than the gasping denouement it should have been. (Perhaps this would be different if you didn’t know the twist).
However, these reservations aside, it’s an enjoyable night out at the flicks, although a bit of a disappointment from the level of expectation I had for it. I can’t be too grumpy about it, given it’s a return to good old-fashioned yarn-spinning at the cinema, with great visuals and an epic cast. And that has to be good news.
For sure, Branagh does make for an amusing and engaging Poirot, even if his dialogue did need some ‘tuning in’ to. There was a suggestion at the end of the film that we might be seeing his return in “Death on the Nile” – the most lush and decorous of Peter Ustinov’s outings – which I would certainly welcome. He will have to find another 10 A-list stars though to decorate the boat, which will be a challenge for casting!