"a light detective story that usually features a well-educated protagonist and little explicit violence"This definition already contains its critics' own condemnation as "light." A true aficionado would probably bristle at that and suggest that the puzzle is foregrounded, which can be an intellectual if a reader so chooses to match wits with the detective, so that it is not necessarily light. The "light" probably refer to its shrugging off of violence (hence, realism, in some minds) or perhaps of literary pretensions.
It's little wonder that viewers would bristle at an Agatha Christie mystery where violence in presented (if not gruesomely so) as well as the seamier side of life (if not salaciously so). Any fan upon first viewing this three-part series may balk, wondering if the additions are gratuitous moderizations of Christie's work. But if you liked Sherlock Holmes' updated, more personal treatment from Ian McKellen's portrayal in Mr. Holmes, you might well be intrigued by John Malkovich's portrayal of an older Hercule Poirot. They aren't mirror images. This one has a murder mystery at its heart whereas Mr. Holmes has a personal mystery.
Hercule Poirot has no sidekick (no Captain Arthur J. M. Hastings, OBE to bounce ideas off of), which makes sadder and lonelier. Worse, he's lost his ally in the police with only a detective (played surprisingly well by Rupert Grint) who isn't interested or doesn't trust Poirot. Poirot has been receiving taunting letters from "A.B.C." who eventually resorts to murder. The murderer seems to have a personal vendetta against Poirot, forcing him to rake through his brains for someone in his past. Since the police won't help, Poirot has to take on the murderer alone.
Poirot's own past and his ability to detect are called into question and have a bearing on the case. The mystery is not quite well delineated as a puzzle to match wits with the private detective as in most of Christie's work, yet I do believe well worth watching, even if (especially if?) you've seen it before.
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