Death on the Nile is a polished and sleek whodunit film, but is it too perfect for its own good?

*No spoilers below

A whodunit film is only as good as its reveal and the way its murder mystery engages the audience till the very end.

When it comes to Death on the Nile, the second film adaptation of Agatha Christie's series of detective novels centred on Hercule Poirot, it doesn't quite organically capture its viewers despite having the ingredients for it — stunning visuals, mood shots, an A-list cast and a murder mystery that seems like a perfect crime.

In Death on the Nile, Poirot's Egyptian vacation aboard the Karnak, a glamorous river steamer, turns into a search for a murderer when a picture-perfect couple's idyllic honeymoon is tragically cut short.

Kenneth Branagh (who also directs the film) stars as Poirot, and just like Murder on the Orient Express, he is joined by an all-star cast of suspects — including Tom Bateman, Annette Bening, Russell Brand, Ali Fazal, Dawn French, Gal Gadot, Armie Hammer, Rose Leslie, Emma Mackey, Sophie Okonedo, Jennifer Saunders and Letitia Wright.

Death on the Nile is effortlessly gorgeous with breathtaking backdrops that inspire much wanderlust. It's set against an epic landscape of sweeping desert vistas and majestic pyramids, with occasional overhead shots that provide a panoramic view of The Nile. Although, the CGI was a tad overdone in certain shots.

Then, of course, you have some of Hollywood's most beautiful — think Gal Gadot and Emma Mackey — donned in costumes and gowns that would steal the headlines after a red carpet event.

Yes, this film is elegant and exquisite, definitely something that the obsessive-compulsive Poirot would approve of.

However, like the Karnak and its passengers, the film sends viewers off on a promising luxury ride into the picturesque afternoon sun but doesn't quite live up to expectations.

[embed]https://www.youtube.com/watch?v=kymRAcuwiTU[/embed]

Ironically, the film starts to lose its essence just as it peels back its layers after the first murder is committed. Poirot's interrogations of the suspects serve as vehicles for character development, except none of the 'shocking' revelations point towards potential suspects.

Unlike Murder on the Orient Express where obfuscation is essential and the idea that everyone is the killer actually value-added to the reveal, Death on the Nile doesn't benefit from the formula replicated here.

Just like its polished veneer, Death on the Nile scripts a murder mystery so frustratingly pristine that there is nary a crumb for the inquisitive or observant viewer to nibble on.

It might be acceptable had Poirot been two steps ahead of everyone but the only mysteries he's ahead of are those the audience isn't privy to.

The big reveal, though, was also kind of a letdown. It isn't unexpected — whether you've read the book or relied on the old adage of "It's always those who are closest to you" — but we're treated to an expositional dump that is largely based on Poirot's conjectures.

At first blush, his theory doesn't quite seem to hold up to logic but given that it's a faithful adaptation of the novel, one can't help but wonder if something was lost in translation.

Fortunately, the impeccable casting of Gal and Emma in key roles helped make the experience more alluring.

Gal plays Linnet Ridgeway-Doyle, an obscenely rich and smart socialite who runs the world but her picture-perfect facade hides an insecure and vulnerable woman. With sexiness in spades, Gal mesmerises anytime she's on-screen and it doesn't hurt that she has charisma with just about everyone; except The Rock but that's a story for another time.

Emma, in a role so far removed from her iconic turn on Netflix's Sex Education, plays Jacqueline de Bellefort and she's definitely one to watch — in more ways than one.

Sadly, other notable names like Annette Benning, Rose Leslie and Russell Brand are really there to pad out the suspect list and aren't given anything more to do that stretches their acting capabilities.

On the surface, Death on the Nile is a lush, extravagant and glossy cinematic experience but it seems to be a victim of its own making. With a murder mystery so clean that it's impenetrable by the audience, one can't help but disengage — not something you want in a whodunit film.

If you're someone who just wants to go on a ride, this is the experience you're looking for. Otherwise, you might want to stow your tinfoil hat away, keep your arms and legs inside the cabin and enjoy the ride.

Death on the Nile opens in cinemas on Feb 10.

bryanlim@asiaone.com