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Let's get one thing straight: I couldn't possibly care less that these ITV mysteries don't bear any resemblance to the Christie novel. I've never read more than a couple of chapters of an Agatha Christie mystery, and I never intend to. I don't read *any* mysteries, for that matter, and so the reviewers' constant harping that these adaptations aren't true to the writer's "vision" carries little weight.

What I *do* enjoy are these English murder mysteries adapted for the stage and screen, and I think these ITV mysteries are good fun. Geraldine McEwen is a delight. I have never liked previous interpretations of Miss Marple, where she has come off as nothing but a dried-up, prunish, humourless busybody, but McEwen plays her with an amused twinkle in her eye.

That could characterize the entire production. They're witty and tongue-in-cheek, complete with bad "special effects" and cheesy music and title credits. The actors appear to be having the time of their lives, and it makes for a fun and fizzy mystery. There are worse ways to spend two hours on a Sunday night.

Faithful Shmaithful. Who cares? If you want Christie, read the book. If you want a fun evening, you could do far worse than these Marple mysteries.

Sure, I had fun. I had fun at my four year old's dance recital, too. That doesn't mean it could be compared favorably to the Bolshoi. When a movie is adapted and directed by someone of Kenneth Branagh's talent and training, we deserve more than some musically unskilled actors trying desperately to stay on key while attempting to negotiate the choreographed dance steps. Surely Branagh could have found a group of actors who were more skilled dancers and singers. Branagh's voice is pleasant and Adrian Lester has a rousing dance solo, but I've seen better community theatre musical productions.

It is not as if the cast's comic flair or dramatic abilities can compensate for their clumsy dancing and bland warbling. Natascha McElhone is unremarkable as Rosaline and made me miss Emma Thompson's chemistry with her ex-husband. Matthew Lillard's performance was so bizarre, his every appearance evoked titters from the audience. All performances were generally unmemorable and one-dimensional. Nathan Lane is his usual self. Take from that what you will.

It's not as if Branagh has given his cast much to work with. He has chopped most of the text, including the famous "Muscovite" scene, and the narrative suffers from it. He has replaced the text with the admittedly wonderful songs of Gershwin and Porter and others. Despite their amateurish execution, they are always enjoyable. The movie is lovely to look at, too, with costumes and sets evoking pre-WWII Europe.

The movie ends with a Branagh-created coda, depicting the characters' wartime plights and the requisite happy ending. These are movie's most touching scenes, revealing the cartoonish characters' human sides that Branagh had not before allowed.