Incannerax What a waste of my time!!!

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Janae Milner Easily the biggest piece of Right wing non sense propaganda I ever saw.

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

grantss Hercule Poirot is ailing, and close to death. He travels to the estate Styles to convalesce and invites his old friend Hastings to join him. Styles has a nostalgic significance to Poirot as it was the location for the first case that Poirot and Hastings solved together. Poirot's reasons for calling Hastings down are not all about nostalgia or farewells - he believes a murder is going to be committed and, being unable to walk, he needs Hastings to be his eyes and ears. Hastings has another interest in being there - his daughter, Judith works there, as an assistant to chemist Dr Franklin. Sure enough, within a few days, Dr Franklin's wife dies, poisoned. The inquest calls it suicide, but to Hastings and Poirot it looks like murder. Problem is, the prime suspect is Hastings' daughter...The final Poirot, and probably the worst of all the Poirots, plot- wise. Poirot is completely out of character here. Always the one for high-mindedness, idealism, obeying Christian values and justice through the courts, here he becomes a vigilante and murderer. Even worse, his target is not a murderer, but merely a master-manipulator. The other issue with this is the notion that you're not responsible for your own actions. If you murder someone but someone subtly manipulated you into doing it, it's their fault, not yours. What nonsense! (Though consistent with the sort of bs the media and many Facebook warriors trundle out regularly).The only thing keeping this from being a very unsatisfactory end to the series is the emotional value. Quite sad to see Poirot in the state he's in. Nostalgic to see him reunited with Hastings, especially in the same place they first worked together. The introduction of Hastings' daughter also adds an element of generational change and the passing of time.Overall: Not terrible but Poirot deserves a better send-off than this.

blanche-2 "Curtain" is the last of the Poirot stories, which means the end of David Suchet's run as Poirot. To me, he will always be the definitive Poirot.Hastings, who has just lost his wife, is asked by Poirot to meet him at Styles, the site of a previous case thirty years earlier - their first.Styles is now a guest house. Poirot's health is failing, and he is confined to a wheelchair, due to his arthritis and bad heart. But he still has all his marbles. He tells Hastings that there is a murderer on the premises, and he needs Hastings to be his eyes and ears. The people there include the owners, Daisy and Colonel Toby Luttrell, a spinster, Elizabeth Cole, an aristocrat, Sir William Boyd Carrington, a birdwatcher Stephen Norton, a womanizer, Major Allerton, a chemist Dr John Franklin and his wife Barbara, her nurse, Nurse Craven, and Dr. Franklin's lab assistant, who just happens to be Hastings' estranged daughter Judith. One of these people is a killer. But can Hastings take his attention off his daughter long enough to help Poirot find him or her? Then the murders start. What does Poirot know? Can he solve his final case before his final curtain? A dark mystery, but a good one, with Poirot's illness permeating the entire episode. The murder in the end is actually the McGuffin - the big story is that this is Poirot's last case. My big complaint is that Miss Lemon and Superintendent Japp were not brought back for the episode.I know some people didn't like the turn this series took, and it's true, the seasons with Miss Lemon and Hastings were the best -- they had humor and lightness as well as mystery. But throughout all the seasons, there were always good episodes.Will be missed.

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.

l_rawjalaurence I really don't like to admit this, but CURTAIN has to be one of the weakest entries in the entire Poirot canon. Hettie Macdonald's production sets up an intriguing situation, but the resolution is weak in the extreme, with the surprise plot-twist involving Poirot himself seeming particularly implausible. I realize that this is probably in the source-text, and that screenwriter Kevin Elyot was trying to make the best of a weakly plotted book, but for me the episode simply did not work in televisual terms. On the other hand there were incidental pleasures; it was nice to see Hugh Fraser returning as Hastings, the eternal innocent unable to see what was distinctly in front of him, supported by a clutch of memorable cameos from Aidan McArdle, Helen Baxendale and Anne Reid as a particularly sour-faced old woman. The lighting was appropriately shadowy, making every character in the episode seem suspicious. Towering above everything was David Suchet's masterly performance as Poirot - as the detective taking his last bow on the stage, he was both clear-eyed yet moving as he realized that he no longer possessed the physical capacities to solve any more cases. He has been easily one of the best - if not the best - Christie characterization in any media adaptation of her work.