The Woman in Cabin 10 Review: Keira Knightley Netflix Adaptation Falls Flat

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Keira Knightley used to be seen as flawless, and she’s best known for her roles in historical dramas like *Atonement*. However, recent appearances—like being photographed on a large yacht with a MacBook as if it were an inconvenience—suggest she’d benefit from taking on more contemporary roles. In the film *The Woman in Cabin 10*, she plays journalist Lo Blacklock, an uncomfortable outsider among wealthy foundation members. Lo is often inappropriately dressed for the situation—wearing a glamorous gown to a casual meal—but becomes determined and assertive when she suspects a crime, tapping into her journalistic instincts.

While the story of *The Woman in Cabin 10* seemed promising enough for a movie adaptation, it might have worked better as a book. Directed by Simon Stone, the film presents a mystery that doesn’t quite build enough suspense. Journalist Lo Blacklock witnesses someone falling overboard during a cruise assignment given to her by Richard Bullmer, but when she reports it, no one believes her. Her insistence that she saw something leads to a series of frightening encounters and unexpected revelations. However, these events don’t add up to a truly shocking or unique thriller. Ultimately, the film feels like a predictable whodunit where the identity of the culprit is fairly obvious from the start.

The Woman in Cabin 10 Follows a Shallow Mystery

Lo is the typical journalist you often see in movies and TV shows: a highly respected professional known for her groundbreaking work, but with a messy personal life. She’s experienced repeated heartbreak and seems to have sacrificed social connections for her career. Still reeling from a recent trauma, Lo throws herself into a new story, hoping it will offer some relief. She’s personally asked by Richard to join him and a group of wealthy executives on his yacht as they travel to Norway for a fundraising gala. The gala is meant to raise money for a foundation Richard is establishing in memory of his wife, Anne, who is battling leukemia.

Lo sees the yacht as the most interesting part of the story – a chance to uncover secrets about these billionaires and their sudden interest in cancer research. The show wants the audience to believe the yacht is a lavish party, overflowing with champagne and designed like a spaceship. However, the trip quickly turns unpleasant. When Lo reports someone falling overboard – believing it’s the woman she saw in Cabin 10 – her concerns are brushed aside. Those in charge dismiss her distress as a reaction to past trauma, and a board member inexplicably reveals he knows about a disturbing event she witnessed before the film even began, leaving Lo confused and unsettled.

Honestly, when Lo finally found out what was *really* going on, it wasn’t some big, shocking reveal – it was just confusing, and felt…off. The twist itself felt kind of insulting, like it didn’t respect either the audience or the characters. It traded real depth for a really shallow look at how the rich take advantage of people with less money. Getting to that point, Lo was doing the classic journalist thing, risking everything to find the truth, and while her investigation had some exciting moments, it also felt pretty standard at times. The story just felt *long*. Like one of those books where you keep checking how many pages are left. Maybe it works on the page, but as a movie, constantly jumping from one bad thing to the next without any real breathing room didn’t feel very ambitious, you know?

Keira Knightley Carries an Uneven Ensemble Cast

Keira Knightley is a standout performer in the cast, largely due to the complexity of her character, though even that isn’t saying much. The film doesn’t really delve into developing any of its characters – the billionaires, crew, and journalists all feel quite flat. While audiences might recognize Guy Pearce and David Morrissey (from *The Walking Dead*), even these talented actors are stuck playing arrogant and self-righteous characters. Ultimately, everyone feels incredibly one-dimensional, serving only to be wealthy and condescending towards the main character when the story demands it.

Many movies featuring a group of wealthy characters rely on giving each person a single, memorable trait to make them stand out – films like *Bad Times at the El Royale* and *The Menu* do this well. These characters feel distinct and couldn’t easily be swapped. *The Woman in Cabin 10* tries the same approach with a troubled rockstar (played by Paul Kaye of *Game of Thrones*), but the other characters are too similar and feel like generic representations of wealth. Because they aren’t well-developed, these characters make the main character’s search for the truth feel repetitive. If the film had made more of an effort to give everyone clear motivations, it would have drawn viewers deeper into the mystery and made them more invested in solving it.

The Woman in Cabin 10 Attempts to Be an Old School Who-Dun-It

Let’s talk characters. Aside from the central figure, Lo, Anne, Carrie, and Ben are the only ones who really stick with you – but sadly, they all suffer from the same problem that makes so much of the cast feel flat. What really bothered me was how Ben, who should have been a strong peer to Lo, was relegated to simply being her love interest, falling into tired, old romantic tropes. The film kept hinting at a connection between them, and when they actually showed some genuine chemistry, it would pull back! It’s frustrating because the movie seems scared to let Lo have a little happiness through romance. I get *why* they might be hesitant, but this half-hearted attempt at a relationship ultimately does a disservice to Ben, and it’s especially disappointing considering he’s one of the few Black characters we see on screen.

What makes *The Woman in Cabin 10* stand out is how strongly it’s inspired by classic suspenseful movies. You can really feel the spirit of Alfred Hitchcock throughout the Netflix film, particularly in one scene that’s a clever nod to his style. It also draws comparisons to Sidney Lumet’s *Murder on the Orient Express*, which has become a well-known model for stories about groups and murder. The director, Stone, and the cinematographer, Ben Davis, brilliantly use the confined space of the yacht to create a truly claustrophobic and unsettling atmosphere. It’s impressive how they make something so large feel so small and confining.

What’s interesting about *The Woman in Cabin 10* is that it feels like a story better suited for a different time. Its themes of class differences and privilege aren’t particularly new, and we’ve seen similar stories of the wealthy being challenged before. If this film had come out in the 1950s or 60s, the dynamic between actors like Knightley and Pearce – battling with words and money – would have been much more captivating. However, Pearce has already excelled in that kind of role, and audiences are now less interested in gentle critiques of the wealthy presented through mild mysteries. *The Woman in Cabin 10* is perfectly watchable, but even a relatable main character and nods to classic stories aren’t enough to make it truly stand out.

The Woman in Cabin 10 premieres October 10 on Netflix.

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2025-10-10 02:07