Netflix’s The Woman in Cabin 10 is Agatha Christie for the age of mindless scrolling. It’s a murder mystery that only works if you’re not really paying attention, and are happy in the fact the characters on screen aren’t really either. It’s also the latest entry in Keira Knightley’s tonal shift from period dramas to stylish thrillers, à la Official Secrets (2019) and Black Doves (2024), the latter also with Netflix.
She suits the genre. That chummy forthrightness – the sense she’ll ask all the right questions and then invite you out for drinks after – works as well for detectives as it did for history’s pioneering women. Yet The Woman in Cabin 10 is the weakest and most disposable of the lot.
