"The Woman in Cabin 10" (2025) Should Have Stayed Faithful to the Book
I’m disappointed in The Woman in Cabin 10, but that’s at least in part because of my love of Ruth Ware’s novel.

The Outlaw, preparing to rob the stage, receives a letter from his wife, telling him to lead a good life for the sake of her and his baby, and informing him that he may expect them any time. Filled by remorse, he refuses to accompany his companions on their hold-up. As he rides away, he sees a sign offering clemency to the unknown robber if he will give up his gun. He seeks out the sheriff, surrenders the gun and goes on his way. But the stage is held up and the pursuing posse arrests him. Rendered desperate, he makes his escape and prepares to resume his criminal career. But the posse captures the real bandit.
I’m disappointed in The Woman in Cabin 10, but that’s at least in part because of my love of Ruth Ware’s novel.
Some people’s first introduction to Mira Nair might be as New York mayor Zohran Mamdani’s mom. But with her insightful direction of 1991’s Mississippi Masala, Nair shows how much she deserves to be known as an artist. Delivering a nuanced portrait of a romance between a Black man and an Indian woman living in the South, Nair explores the complications each character faces, giving both equal weight.
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