《大侦探波洛 第十季》是一部由希提·麦克唐纳 / 莎拉·哈丁 / Maurice Philli执导，大卫·苏切特 / 佐伊·沃纳梅克 / 阿历克斯·杰宁斯主演的一部剧情 / 悬疑 / 犯罪类型的电影，特精心从网络上整理的一些观众的观后感，希望对大家能有帮助。
●看到Jamie Murray就想给满分，虽然这个蠢蠢的富二代角色真心不适合她…
●发现这一季故事里的反派特喜欢玩儿扮装，取而代之当本尊，你扮我来我扮你，总体来讲蓝色特快和遗产风波还算不错，不太喜欢牌中牌，遗产风波感觉叙事上有些凌乱，现在当红的两枚大帅哥都出演过本季，补完后感觉还真是赚到了，只可惜本季画质不是太好，哎呀，我当年都干嘛去了！
●我竟然把12季的东西看完了……话说人间最惬意的事情，大概就是周末、泡面和谋杀案了 XDD
●第三集里有十分byronic的法鲨嘤嘤嘤
●第三集真好。单独成一部电影也是相当赞
●最近还真迷上这个了。。。好好看！
《大侦探波洛 第十季》观后感(一)：怕忘记
蓝色列车 很有钱的小姐带着红心宝石 后来很有钱的女士 还有和后来很有钱女士有亲戚关系的人 一同上了蓝色列车 红宝石小姐和后来有钱的小姐互换了房间 结果红宝石小姐被杀害了 究竟谁是凶手 是红宝石小姐的丈夫还是情人还是本来想后来有钱小姐的人 最后才发现 是佣人和爱上后来有钱小姐的伯爵搭档偷红宝石而下的手 推理很唐突 细节给的很多 铺垫也很多 但还是最重要的细节没告诉你 然后一下子告诉你结局 牌中牌
《大侦探波洛 第十季》观后感(二)：案件中的心理现场，犯罪心理代入，细节
《大侦探波洛》系列电视剧中各个案件里有大量侦探波洛对死者的相关人士的访谈。这也是侦破案件中的切入点和突破口之一。即有时在侦破案件中缺少物理现场的一些线索时，可以从心理现场寻找相关信息。《大侦探波洛》系列的文章作者推理小说女王阿加莎·克里斯蒂开辟了侦探小说的一种新模式，即注重犯罪过程有关中的心理分析和描写。从心理现场寻找信息，可以包括报案者的心理，目击者的心理，与死者相关人士的心理等等去分析。
犯罪心理代入方法是模拟罪犯的心理过程来看犯罪过程中留下的信息。这也是寻找案件中可能遗漏的信息的有效方式之一。
大侦探波洛经常在错综复杂的案件中寻找到一些细节来侦破案件。案件中细节相当于仔细寻找的线索。有时在疑难案件的侦破过程中，寻找罪犯忽略和一般人难以察觉的细节是疑难案件侦破的重要方法之一。
《大侦探波洛 第十季》观后感(三)：哈哈哈哈新元素的加入
第一集
富豪女儿ruth死了，没有立遗嘱，那她丈夫将要得到200万美元的遗产，这点让我想起百万美元公主，美国新富豪为了获得爵位，和英国破落贵族联姻的故事
富豪女的女仆长相，太特别了，像是得了某种疾病
看阿加莎系列时，容易最开始费力的怀疑凶手，还不如顺着作者的思路，被套路，最后真相大白。
当时的风俗：婚外情有罪，重婚罪也有罪，被人告发会失去现有的名声，财富，所以有人才会铤而走险杀人吧。
第二集的西塔那先生简直是个神经病，有钱，聪明，精力充沛，为了被杀，千挑万选几个人，并且刺激他们杀掉自己，这不就是个抖M么？要是在现代，指不定做出什么事情来。突然想起国外有些人，希望自己被吃掉，都是什么鬼啊。
结果医生是个GAY,HHHH , 克拉多克先生秘书提到过，他俩是牌搭子，经常锁着门打牌，好几个小时都不出来，哈哈哈，这种反转，就像你看康熙王朝时，有个主角死了，然后断案说是同性爱恋仇杀，这种冲击
想不到阿加莎为了反转，用上了很新鲜的元素
但是最后对医生害死克拉多克夫人，打预防针时的预测，能作为证据么？ 医生自己又没有承认
《大侦探波洛 第十季》观后感(四)：140字怎么够用
哎~原著党伤不起。我想象中的波洛要更慧黠诙谐一点。这个太严肃了。比原著描绘的好的是波洛作为一个外国人不懂俚语的呆萌。。译制文字，根本体现不出来。哦哦哦，好多熟脸~
funny thing，我记得很多细节，但是却记不起凶手和手法。。。
改的有点乱。 第一季我看到宝石就立刻反应过来这是蓝色列车上的秘密。
牌中牌？太俗了，不是底牌吗？Don't remember the gay thing，也许彼时我还不够腐就没注意？Really cannot call that.
葬礼之后，OH！It's Magneto!!好帅好帅！不记得有伦理部分啊。 这个凶手我还有印象。
遗产风波，有点怀疑自己是不是没看过。Yeah，I remember the farm style fiance,出身行骗世家的 tough wife。。。关于行骗身份，我记得另一部，远方会友的。。。不是这部，所以一开始没有怀疑诶。 (⊙v⊙)嗯------ tricky tricky
阿婆很含蓄的，感情都很少写，所以我对不多的几个印象很深，好古典啊！ 这又是gay 又是伦理的。。。。
《大侦探波洛 第十季》观后感(五)：论第2集的改编
全文摘自“investigating Agatha Christie's Poirot”部落格，对改编和故事背景（一些编剧想表达的东西）进行了诠释。
http://investigatingpoirot.blogspot.de/2013/08/episode-by-episode-cards-on-table.html
Episode-by-episode: Cards on the Table
©ITV
This episode was based on the novel Cards on the Table, first published in 1936. It was adapted for television by Nick Dear and directed by Sarah Harding.
cript versus novel
It's quite surprising, actually, that the writer who delivered perhaps the most faithful ｓｃｒｉｐｔ of Series Nine (The Hollow) should come back for Series Ten and deliver one of the more controversial ｓｃｒｉｐｔs. I happen to like it (for the most part), but he does make some rather peculiar changes that I can't really say I see any reason for making. I enjoy Dear's later adaptations, and they are generally quite faithful, so I wonder what got into him while writing this. In any case, let me list the changes. First, some new characters are added. Colonel Race is replaced by Colonel Hughes, and Superintendent Battle is replaced by Superintendent Wheeler. The first change can be explained quite easily. James Fox, who portrayed Colonel Race in Death on the Nile was unavailable, and the role would have to be re-cast. To avoid this, Dear evidently added an original character. A perfectly acceptable decision, and I think Robert Pugh does a good job with the part, too. The second character substitute is somewhat more difficult to explain. Battle had never been portrayed before in the series, so there is no need to remove him for those kinds of reasons. It seems the reason he was removed was because Dear (or the producers？) wanted to increase the number of suspects by implicating one of the 'sleuths', and Battle/Wheeler was the obvious choice. Throughout the investigation, the Wheeler character shows signs of having a personal interest in the case (he knows that Shaitana was Syrian, he is keen to accuse Dr. Roberts of the crime, and it is revealed that he staged a break-in to search Shaitana's house for some compromising photographs. Poirot discovers the compromising photographs at a somewhat suspicious-looking photographic studio and confronts Wheeler with them after the denouement. Whether Wheeler is a closeted gay man or the photos show something else entirely, we shall never know. In any case, this is a peculiar addition. Third, Dear decides to make Dr. Roberts gay. He has an affair with Mr. Craddock, rather than Mrs. Craddock, and it's Mrs. Craddock, not Mr. Craddock, who threatens to report him. I can't really say I understand that change either. The only reason I can think of is that Dear felt the 'threat' of an affair with a female patient wouldn't be enough of a motive for Roberts to commit murder. To have his homosexuality revealed in a society that had deemed homosexual acts illegal, however, would certainly be considered a reason for wanting to silence those who know his secret. I don't say that this explains why it was necessary to change his motive, but I do think it makes it more understandable - and almost acceptable. Fourth, Dear removes the second murder (and the faked suicide letters), but that entire plot was almost unbelievable (how was Dr. Roberts supposed to be aware that she was deadly ill and that she was thinking of taking the blame - not to mention how he could get hold of her handwriting). Fourth, the third murder (SPOILER) is changed so that Rhoda (not Anne) drowns, and Rhoda (not Anne) attempts to kill her. Also, Despard rescues Anne and not Rhoda. In fact, Rhoda is supposed to be a possessive friend (in Poirot's words to Anne Meredith: 'you were her slave'). Again, I find it difficult to understand why there was a need to change this from the novel (but, of course, it allows for mother and daughter to be reconciled rather than murdered). Finally, as I've already implied, Anne Meredith is Mrs Lorrimer's daughter here. This allows for a much more believeable and emotional 'confession' scene
Apart from the above mentioned changes, however, Dear's adaptation stays fairly close to the source material (indeed, it's only in the final thirty minutes or so that things go off in... unexpected directions. All in all, however, I'm inclined to regard this as a perfectly acceptable adaptation, with some flashes of perfection (the bridge scenes, the dynamic between the four sleuths etc are all superbly done).
Directing, production design, locations, soundtrack
arah Harding's direction is wonderful. I particularly like the opening scene at the gallery, inter-cutting with the photographic studio, which brilliantly set up two essential themes; crime as art and photography as (at least partial) motive for crime. Credit must also be given to the production design of this episode. Production designer Jeff Tessler and his team must have had so much fun. Not only are they given the opportunity to design and construct two long-running sets (Poirot's new flat and Mrs Oliver's flat - both strikingly similar to the deｓｃｒｉｐｔions in Christie's stories), but the rooms in Shaitana's flat are really exquisitely done, suitably exotic and sufficiently flamboyant. Locations include the 'Peacock House' / Debenham House in Holland Park (doubling as Shaitana's house - and also as Lord Edgware's residence in Lord Edgware Dies (2000)), Leighton House Museum (the interior functions as Shaitana's entrance hall), the Ham House Stables, Alexandra Court, 171-175 Queen's Gate, London (Mrs Oliver's apartment building - which would become the setting for Third Girl as well), Neal&Palmer, Piccadilly Arcade (where Poirot buys the stockings), and the Albert Memorial in London (see photos here). Stephen McKeon's score is particularly effective in this episode, with a suitably mysterious atmosphere to it. Parts of it can be found on his website, e.g. 'Cat and Mouse' and 'Shadows and Light'. Also, I can once again reccomend the 2006 behind-the-scenes documentary of Series Ten - if you can get hold of it. There's plenty of interviews with the cast and crew.
Characters and actors
I have to mention the introduction of Zoë Wanamaker as Mrs Ariadne Oliver. You can read my blog post on the character for a more in-depth look, but suffice to say that this was an inspired bit of casting. She might not be quite as battleship-like as the character from the novel, but to me, she's absolutely perfect as Ariadne, and her coupling with David Suchet's Poirot is absolutely perfect. Also, it's a joy to see Poirot have someone to play off, after an entire series 'on his own'. Of the other guest actors, Alexander Siddig perfectly captures the Shaitana of the novel, and the fantastic Lesley Manville is particularly moving as Mrs Lorrimer (and I'm quite impressed by her delivery of the ｓｃｒｉｐｔed bridge lines in the interview with Poirot! That's almost as impressive as Benedict Cumberbatch's fast-speaking Sherlock). But of course, having only four (five) suspects and four sleuths, all the actors have time to excel in their parts - and most of them do.