Directed by:
Ron HowardScreenplay:
David KoeppCinematography:
Salvatore TotinoComposer:
Hans ZimmerCast:
Tom Hanks, Felicity Jones, Omar Sy, Irrfan Khan, Sidse Babett Knudsen, Ben Foster, Ana Ularu, Paul Ritter, Fortunato Cerlino, Attila Árpa, Francesca Inaudi (more)VOD (1)
Plots(1)
Academy Award® winner Ron Howard returns to direct the latest bestseller in Dan Brown's (Da Vinci Code) billion-dollar Robert Langdon series, Inferno, which finds the famous symbologist (again played by Tom Hanks) on a trail of clues tied to the great Dante himself. When Langdon wakes up in an Italian hospital with amnesia, he teams up with Sienna Brooks (Felicity Jones), a doctor he hopes will help him recover his memories. Together, they race across Europe and against the clock to stop a madman from unleashing a global virus that would wipe out half of the world's population. (Sony Pictures)
(more)Videos (7)
Reviews (9)
Ron Howard diligently pushes grand shots even where the viewer wouldn't expect them, and strives to make us forget about how formulaic the whole series feels. The supporting characters unnecessarily dilute the attention, and Felicity Jones' lukewarm performance doesn't help either. But what's even sadder is that even after a long break from Angels and Demons, it's clear that the screenplay is just trying to pick out the better ingredients from that and from The Da Vinci Code without adding anything new. Despite Tom Hanks' still surprisingly vibrant performance, my score remains below average, and I remain confused by this mishmash until this day.
()
Those who have read the book will likely be very disappointed. The search for a (non)treasure feels too simple. The book is, of course, more extensive in terms of discovering hidden ciphers and explaining their nature. It also goes much deeper in the portrayal of the characters – the fact that Langdon is rescued by a doctor who happens to have similar knowledge to him and immediately figures out everything as he does is very cheesy. The deciphering of the codes is too fast and overall it seems almost secondary, but this should be the main essence of the film, it's probably what the audience enjoys the most. Here you have no choice but to nod and say “okay, if you say so”. On the other hand, I understand that not everything can fit in a film. As an action movie it's not bad, but for one completely unnecessary extra romantic line and the ending, I'm going down one star.
()
Whether it was The Da Vinci Code or Angels & Demons, these were adventure films that I felt respected the book they were based on. But Inferno pretty much wipes its own ass with the book it’s based on and I can’t understand at all how Ron Howard could have let this happen. I mean the previous films essentially stuck with the idea of the books. In this movie, not only do they not stick with the idea of the book, they essentially completely reversed it so that it would serve the interest of the movie. And I’m sorry about that, really really sorry. Because Felicity Jones has a great character to play in this one. And maybe I see it this way because I simply grew to like her as an actress. But as a whole, I cannot but complain. Inferno is not a good movie. And it would still be average even if I wasn’t familiar with the book. I didn’t like the editing. I didn’t like that the structure of the plot was essentially the same as in the previous films and I didn’t understand at all why the film refers to Dante’s “Divine Comedy” when, at least according to the film, it has no effect on the main idea of the film. And if there is an effect, it’s very fringe. So, personally I think that Inferno is the worst film adaptation of a book that I have ever seen. And seeing all the things that are behind this film makes it even worse.
()
Worse than Angels, better than the Code. Nice historical monuments and Hans’s music alone would have earned the movie a few points, but this time round Brown did some hard work on the plot, letting the balding Hanks save the world from a dangerous pathogen. Which is fine. Cheesy, but fine. The hellish hallucinations are well done, even if a little disruptive in a wider context, but I love Dante. If you know what is in store for you, you’ll leave the movie content.
()
It’s without a proper conspiracy subplot that would make news website readers' libidos harden, but with the futile plot of a nickel-and-dime thriller, with Howard making Langdon into Bourne and the viewer, even in the back row, an asshole who needs to see flashbacks 5-7 times. The exceptional stupidity is underlined by the fact that it takes itself seriously to the last symbol. If this were a lone wolf, not a member of a trilogy, I'd consider it decent sabotage from Howard.
()
Ads