Appointment with Death (1988)

Appointment with Death is one of those Agatha Christie adaptations that earns your attention less through pyrotechnics than through atmosphere: sunlit ruins, dusty digs, and the uneasy hush of a holiday where everyone seems to be carrying a private grievance. Peter Ustinov’s Hercule Poirot brings a wry, humane intelligence to the investigation, while a distinguished ensemble—Lauren Bacall among them—adds a polished, old-school glamour that makes even casual conversations feel like clues. Michael Winner leans into the period texture and striking Holy Land locations, giving the mystery a travelogue richness that’s as pleasurable as the whodunit mechanics. It’s not the tightest or most surprising Poirot on film, but if you like your thrillers civilized, character-driven, and steeped in place, it’s an inviting, very watchable evening.

Appointment with Death clearly wants to be a classy, globe-trotting Agatha Christie whodunit, with Poirot dropped into a family pressure-cooker and a murder that should feel deliciously inevitable. The problem is Michael Winner’s direction and the script rarely generate real tension, so what ought to be simmering psychological cruelty and suspicion often plays flat and oddly low-energy. Even with a stacked cast, the character work can feel thin and the pacing is so sedate it risks turning “atmospheric” into “sleepy.” If you’re here for peak Poirot sparkle or a twisty, propulsive mystery, this may test your patience—but if you enjoy leisurely, old-fashioned travelogue vibes and can coast on the premise and performers, it’s a serviceable background-watch.