The film’s revisionist touches are all too perfunctory; there is now a black British man and a Mexican in the mix. By the end, you wonder, why fix what isn’t broken? The answer is explicitly given—like many things in the film—in the last scene, where a policeman in a quiet station tells Poirot about a possible case on the Nile.

The Revenant is a very visual film, a technical marvel and a feast to the senses. Inarritu’s long-time collaborator, Lubezki has always brought out the holistic, spiritual soul of his films.