Los pequeños asesinatos de Agatha Christie

Season 2. Wonderful, so funny... The characters are very characteristic, with fun, the inspector is somewhat dog but in a funny way. The journalist a modern woman and the secretary is so suite. Congratulations.

This show sets the perfect mood for intrigue, mystery and entertainment.

Agatha Christie's works have inspired many iterations on film, although "the usual suspects" are most often repeated (Death on the Nile, etc.). So, it's not just "new" stories that are presented here, but the crimes are solved by a new set of characters who bring lots of playful dynamic to the mix.

Of the 1950's episodes - while the first two seasons very well establish the era and tone, the series really hits its stride in seasons 3 & 4. With increased confidence, everyone brings more layered nuance to the storytelling.

Overall, the production values are extremely well delivered. A special shout out to set dressers, costume and make-up. And the soundtrack engages with suspense and mischief, and perfectly balances the actors' and editors' comedic timing.

Of the performers, my personal favorite is Elodie Frenck as the divine Marlene. She's sexy, funny, the perfect blend of subtlety and charm, and occasional well-placed gaucherie, making this character irresistibly adorable.

Well cast, the other actors bring dynamic energy to their roles in unique ways.

J'adore!

Agatha Christies Criminal Games is a total delight despite the fact any relation to reality is purely coincidental. How many Police Inspectors have a beautiful, huge private office with a private secretary who bears a passing resemblance to Marilyn Monroe? None in the many other TV series I've seen. (Sorry, I don't know any Police Inspectors personally.)

Basically, this French series adapts Agatha Christies mysteries to fit three characters wholly made up for the series. Thus Piorot, Marple, et. Al. Are replaced by Inspector Swan Laurence (Samuel Labarthe), a rather somber, often insufferable, caricature of a 1950s male chauvinist. If he was the only major character there is no way I would have called the series delightful. Luckily there are two major female characters who give the show its sparkle. First off, Blandine Bellavoir as Alice Avril, a newspaper advice columnist turned reporter, who manages to insinuate herself into every case Laurence is investigating, sometimes by accident, sometimes on purpose. If that challenges reality so does her frequent barging into his office at all times a day, seemingly having free reign at Police Headquarters, something even in France would seem out of bounds to a reporter. But, make no mistake, those scenes and her and Laurence's frequent bickering help make the series endearing. Certainly Ms. Bellavoir performance as Alice Avril is the highlight of the show. Then there's Elodie Frenck as Laurence's secretary, also a caricature, in her case, that of a dumb blonde. Her role got bigger as the series progressed and soon she too became endearing. Both actresses deserve accolades for lifting the series above the norm.

The mysteries are nicely adapted to fit these characters. Though light-hearted, and at times almost a semi-comedy, be warned some of the murder scenes can be gruesome. If you, like me, love mysteries, this series can be addictive.

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The other reviews say it all. I am a longtime Christie fan and love these humorous, clever, modern adaptations. Yes, some artistic liberties have been taken, but all the better to set it apart from other versions. See this link for the complete list of episodes. You'll see that Set 1 only includes 7 of the 29 already produced episodes. Neither does Set 1 contain the first 7 episodes, but skips down the list. I can hardly wait to see what comes next, but it appears that Set 1 is the only version released in the US. S'il vous plaît, hurry with subsequent sets!

Agatha Christie: The Queen of Crime. Although popularised by TV movies starring Peter Ustinov, and later David Suchet, as the Belgian super-sleuth, Hercule Poirot, her page- turners have been adapted for the silver screen since 1928. This long-standing celebration of her work raises the question: is there anything left to explore?

Transpose British tales of bloody murder amongst decadent elite social circles into the quaint rural landscape of late 1930s France and we realise there is plenty of room left for investigation.

Never would the foreign location in France 2′s Les Petits Meurtres d'Agatha Christie (The Little Murders of Agatha Christie) alienate Christie fans as her work comes back to life in the coastal Calais region – one of many nods to the narrative's culturally British origins, and a tactic favoured by New Wave filmmaker Claude Chabrol. The 1930s setting also delivers nuances of anxiety to an already foreboding atmosphere.

Eccentric Commissaire Larosière (Antoine Duléry), and reluctant apprentice, Inspecteur Lampion (Marius Colucci) replace Christie's iconic sleuths in these re-imagined adaptations while providing the series' greatest quality that separates it from her original work: the womanising Larosière, a relic of the old world, soon discovers that Lampion is gay. Yet, despite homosexuality being a highly taboo subject during the period, Larosière not only accepts it but their unspoken bond blooms into an endearing father-son relationship.

In 2012, the Larosière/Lampion duo sadly came to an unexpected close. However, last year we were introduced to the new unlikely couple, this time set in the Rock'n'Roll 1950s: another womanising detective, Commissaire Laurence (Samuel Labarthe) and meddling reporter, Alice Avril (Blandine Bellavoir).

While this odd-couple's relationship has yet to mature to the same depth as their predecessors, their chemistry is unblemished. Although both highly entertaining, the true hero of this comeback series is Laurence's pin-up secretary, Marlène (Elodie Frenck), an enchanting yet somewhat dim Marilyn Monroe à la Française.

Not only does Les Petits Meurtres d'Agatha Christie successfully navigate the perilous terrain of adapting a celebrated British institution abroad, but it makes for a revitalising experience all while remaining loyal to the genre's conventions. If it somehow makes it across the Channel, it is certainly worth a watch.