This review may contain spoilers. I can handle the truth.
Hamza Dakir’s review published on Letterboxd:
This review may contain spoilers.
The new "Whodunnit" converges, if it is useful to classify it, towards the adaptations of Agatha's stories, with a really great investigator, pieces thrown left and right, details that take their meaning and their weight at a surprising moment of the film work, a dark interrogation satiric uni-space, and suspects, who hide behind their empathy and mourning, the lines of dialogue that close the case, delegating to us the task of listing the dropping parts! did you know that the rule can be respected by being broken? and that less explicit storytelling can make a "whodunnit" a "whydunnit"!
The film thwarts its genre without the homage to Christie, (which I will discuss later), being transformed into an irony; in this respect, it is indeed a course in script transformation, narrative reversal, and blowing plot-twists. Oscillating between a bloody and tedious suicide and an almost perfect and labyrinthine homicide has never been so fluid, refined and easy. While allowing the viewer to take lessons in manners, sociology and politics, and become aware of the viruses of migration and social stratification incubating America!
The fast food and less subtle interpretation, imposed by the genre and the tribute action, the "Vintage point" style narration, the lines of black comedy integrated into a thriller story, and the theatrical melodrama reigning in the feature film, left a tailor-made Time screen to a Premium Hollywood Cast, whose members were able to position themselves on the emotional spectrum, and take advantage of a project less present in their filmographies. Craig, Evans, and Langford, are no longer the Hollywood guys who have stuck to the images of James Bond, Marvel, and the Netflix series of teenagers respectively! Shannon, on the other hand, has taken out of his toolbox, the strict necessary to give everything in nothing!
It is now that I slip into this review, the mention "Spoilers", which makes sense in this case. Harlan Thrombey falsely put his nurse in the galley; one could imagine a more convincing plot, if the old writer decides to show up with his family at midnight, Marta's moment of departure, before going to stay in peace, it's hardly too much for such a well-known Mystery writer! A whole rescue plan, non persuasive, so as not to shorten the film's duration, when it was the Job of the Tennis Ball who was vainly wandering around in front of the camera! Ransom, burned down the medical examination center, in the fashion of "City of God", and visibly tried to inflict mortal damage on Marta, even if only her surreptitious and disguised criminal intentions give meaning to the entire cause of the film, and a sentence drunk in "donuts" only said to make up for the crime, all these elements weaken the film, but do not touch the dose of enjoyment and fulfillment it reserves for you!
In conclusion, the cinematography that systematically refers us to the adaptations of Wilder and Lumet, even though our characters have smartphones, is nothing other than another letter of recognition, addressed to Agatha!