Towards Zero

Neville Strange, a celebrated tennis player goes through a messy divorce with his wife Audrey, who has legitimate grounds after Neville had an affair with the glamorous Kay. Neville takes his new wife to visit his wealthy Aunt, Lady Tresillian, it just so happens that Audrey has been invited as well.

I was truly looking forward to this, as I do with any Agatha Christie adaptation, but in recent years it's been a case of approach with caution.

There are lots of changes, let's be clear, it's altered from the book, with several characters perhaps very different, that said the core essence is still here.

The best element has to be the visuals, it is a stunning looking production, an area where The BBC still thrives, expect stunning clothes, great sets, and as it's set at Burgh Island, expect a terrific location, one Agatha Christie fans will know very well.

The issue I had, the pacing, it is very slow to get going, it takes the best part of two episodes to see an actual murder, they spend an age introducing the characters and building the murder, heading Towards Zero.

I wish they'd put this on over Christmas, it may have added an extra bit of sparkle, putting it on at the start of March felt a little odd, this was a big production.

Not as bold as some of the more recent Agatha Christie adaptations, I don't think it held a candle to the stunning adaptation of And then there were none, in comparison it felt a little bit flat, but all in all it's a good adaptation, and the feel of the book is captured well.

Anjelica Huston steals it as Lady Tresillian, but there are good performances all round, Jack Farthing in particular was excellent.

7/10.

I love a good Agatha Christie mystery. Years ago when young I reread the books over and over. I was excited about this adaptation, willing to give it a try because I like Angelica Huston and Mathew Rhys. Unfortunately this version had to muck with a really good Agatha Christie "who-dun-it" mystery. This version has changed characters, omitted some characters, overcomplicated their motivations for murder and switched who got murdered first, changing the plot line which dulls the mystery. Even the detective is swapped from Inspector Battle to Leach which is ironic because the name switch symbolises how the story has been dulled down from dramatic to boring. Leach is drowning in alcoholism and is suicidal which makes him overly dark and not compelling to watch. Angelica Huston is too passive, not dominating or caustic enough to murder, only rich. It's dark, not the plot, but rather the filtering chosen for filming is dark & grimy in a weak ploy to create mystery. It's simply annoying as the character's faces are difficult to see in the dark. Dialogue & plot should create the mystery rather than cinematic filters. Sex scenes are used also to create drama which is another by-product of a weak plot line. Christie employed flirtatious characters, but true to her era didn't use overt sex to tell a story, instead Christie always produced a good plot line with witty dialogue. Worst of all, the story is very slow. Christie skilfully wrote Towards Zero with a delayed murder, but this version can't pull that off and when they change the order of the murder plot lines, it jumbles the mystery right out of the story. The few positives are that the setting & costumes are period-rich with details that make the show nice to view.. But even this is dulled by the overused dark filters chosen for this version. Unfortunately setting & costumes can't trump the importance of plot & dialogue for drama. With weak story telling, this version isn't worthy of Dame Agatha Christie. Her descendants promote this film, as it's a money-making legacy for the corporation Christie has become, but I think Agatha the writer would be disappointed.

Enjoyable tosh I'd say. Love seeing the mega-rich come unstuck. Love Agatha Christie too so this was a must-see. Looks great, lovely photography.

Reviewer kristhebass mentions the Black barrister played by the excellent Clarke Peters, as if this was an anachronism. This reviewer may be interested to know (but probably won't want to know) that the first Black barrister to practice in the UK was in 1884. No, Agatha Christie probably didn't mention any character's ethnic background so basically anyone could be cast. It's not as if it's 'unhistorical' in this instance. Oh and I think the 'maid' is more of a lady's companion, as she quite clearly states in the first episode.

The visual aesthetic of the series is a major letdown. The overly dark and blueish tint gives it a dated, early-2010s look that feels more like a tired crime drama than a timeless Agatha Christie mystery. The muted color palette and lack of visual creativity make the entire production feel bland and uninspired.

The pacing is another significant issue. The combination of an overtly slow and melodramatic score and hollow conversations drag the story unnecessarily. The result is a miniseries that feels much longer than it actually is.

Finally, the characters, while seemingly layered, quickly become tiresome. Each one is burdened with a troubled past or some nuanced background, but these elements feel overused and repetitive, and lacking authenticity. Instead of adding depth, the constant focus on their personal struggles makes the characters feel like clichés. By the time the mystery reaches its conclusion, it's hard to care about who did what or why.

For me this miniseries is a waste of three hours that I want back.

The second instalment sees the situations at Gull's point escalate. After a danced through afternoon at the nearby pleasure hotel with multiple partner exchanges and another troublesome newcomer in the form of a former boyfriend, Lady Tressilian is most displeased with her house guests and threatens to change her will. The love triangle at the centre concludes in two people having intimate relations in the stairwell of the house in view of everyone else, a scene that I guess was supposed to be erotic, but ended up more awkward than enticing. Soon after we (finally) get our first murder. Inspector Leach, who has survived his suicide attempt and strikes up an unlikely friendship with Sylvia, investigates the death and soon finds that things might not be as easy as they seem at first glance.

It all continues to be very pretty and glamorous, but by now the changes from the book become glaringly obvious and not all are good ones. The addition of a couple characters are fine, but the original characters suffer a little. Audrey in particular appears little more than a pretty distraction here. It's unclear why Neville seems unable to stay away from her to the point that he betrays his wife right in front of her nose - or why Audrey seems to have her heart set on prying him away from Kay after insisting on the divorce. Both of their motives for this love triangle have been done away with, leaving the central relationships a little flat in result.