Metacritic-Rezensionen

Smart, stylish, and suspenseful, The Woman in Cabin 10 works in large part because of Knightley’s performance.

This is Hitchcock lite, with a great leading lady and a story that doesn’t overstay its welcome. It may not be the kind of film that lingers after it’s done, but for a good trip, rather than a long trip, it’s worth climbing aboard.

It might seem a bit showy and cheesy in its final moments, but that kind of over-the-top shock is missing from most of the rest of the film. It’s a thriller missing the thrills, and we’ll take them where we can get them.

Despite its flaws, the cast, while underused, is a powerhouse, especially Knightley, who remains magnetic. It’s just that “The Woman in Cabin 10” never manages to transcend its setup.

Australian theater and film director Simon Stone’s blandly glossy, capably acted adaptation, co-written with Joe Shrapnel and Anna Waterhouse, is mostly a pedestrian affair that waits until the denouement to crank up the suspense and show some teeth.

The sleek production design, symphonic score and performances from a killer ensemble act as a life preserver, making the shenanigans at sea a little less choppy.

A body isn’t the only thing that goes overboard here.

It sounds fun on the face of it, and the sheer silliness of the situation almost keeps it afloat, but the cardboard quality of the drama gets soggy.

A thriller in name only, it has all the grace and cunning of an anvil to the head.

Netflix’s The Woman in Cabin 10 is Agatha Christie for the age of mindless scrolling. It’s a murder mystery that only works if you’re not really paying attention, and are happy in the fact the characters on screen aren’t really either.